Lions Gallery Paintings

The sweetness that characterizes the work of Mexican painter Jose Maria de Servin (1917-83) is a melancholy and placid one. While he worked in the most modern of styles, he adapted i...

MALCAH ZELDIS Reclining Woman Wine and Cigarettes gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Matted to 13 X 1...

MALCAH ZELDIS Bull gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Malcah Zeldis (born Mildred Brightman; 1931) is an American folk art painte...

MALCAH ZELDIS ''Basketball'', 1988, gouache on paper Hand signed and dated bottom right, titled in pencil on paper verso Malcah Zeldis (born Mildred ...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. Her work is in a more whimsical style of Francoise Gilot. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. Her work is in a more whimsical style of Francoise Gilot. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé, Moise Kisling, Marie Laurencin, Henri Lebasque, Fernand Leger and Henri Matisse. The gallery now exhibits painters and sculptors in the tradition of the École de Paris and artists such as Jean Carzou, Shelomo Selinger or Pollès. Her style is a recognizable, cheerful, whimsical and a happy creation. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. Her work is in a more whimsical style of Francoise Gilot. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. Her work is in a more whimsical style of Francoise Gilot. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé...

MADELINE CHRISTINE CLAVIER (1913-2015) Signature: Signed lower right & titled verso Medium: Oil on canvas Provenance: The collection of the artist's family Marie Christine Clavier was born in Saigon, Vietnam in 1913 to French parents and lived there for her formative years. She returned to France as a teenager and began to study painting. Her work quickly developed into whimsical paintings of poetry and songs – harmonized in a unique and distinct painting technique. Her work has an impasto feel and a folk art, outsider artist sensibility to it. Similar in style to Maik and other fantasy realists who use animals, flowers and foliage in their artworks. Marie Clavier painted ro herself rather than for profit as she was quite independently wealthy. She exhibited extensively in the United States in the 1970s especially across Connecticut and New York, showing at various galleries and cultural centres. She had numerous solo exhibitions in the 1970’s- notably at the Maison Francaise in New York and New York University. She showed at Galerie Bernheim Jeune in Paris. She won many awards for her work including Gold Medals and Palme D’Or medals. In 1988 the prestigious art publisher Leopard D’Or produced catalogue book on her life and work – by this point she had virtually given up painting. She died in 2015 aged 102. Bernheim-Jeune gallery is one of the oldest art galleries in Paris. Opened on Rue Laffitte in 1863 by Alexandre Bernheim (1839-1915), friend of Delacroix, Corot and Courbet, it changed location a few times before settling on Avenue Matignon. The gallery promoted realists, Barbizon school paintings and, in 1874, the first impressionist and later post-impressionist painters. It closed in 2019. In 1901, Alexandre Bernheim, with his sons, Josse (1870-1941), and Gaston (1870-1953), organized the first important exhibition of Vincent van Gogh paintings in Paris with the help of art critic Julien Leclercq. In 1906, Bernheim-Jeune frères started presenting works by Pierre Bonnard, Edouard Vuillard, Paul Cezanne, Henri-Edmond Cross, Kees van Dongen, Henri Matisse, Le Douanier Rousseau, Raoul Dufy, Maurice de Vlaminck, Amedeo Modigliani, Maurice Utrillo and Georges Dufrenoy. From 1906 to 1925, art critic Félix Fénéon was the director of the gallery and was instrumental in bringing in the art of Georges Seurat and Umberto Boccioni. In 1922, an exhibition brought together works by Alice Halicka, Auguste Herbin, Pierre Hodé...

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throu...

Mixed Media Collage Painting . signed and dated. Blindman's White Adja Yunkers b. 1900, Riga, Russia; d. 1983, New York Adja Yunkers was born Adolf...

This is an oil on canvas by the important Hungarian-born and internationally celebrated Denes de Holesch (1910-1983).this is the original rare oil painting. Denes de Holesch was an international equestrian artist. His works have been exhibited all over the world, including in New York, Beverly Hills, Boston, Chicago, Paris, Mexico City, Montreal, Tokyo, Sydney, and Madrid. His horse paintings fall into one of seven themes, including polo, cowboys, circus, rodeo, hunt, bull-fight, race-course and running free. His mastery of the subject has been compared to that of Picasso, Delacroix and Franc Marc. 1910 Denes Dezo George de Holesch was born on 9 February, 1910 at Banska-Bystrica, Northern Hungary. He was the third child and youngest son of Hugo de Holesch, an architect and Margit, nee Wagner. Many generations of the de Holesch family had worked as professional architects. He studied at the Hungarian Academy of Fine Arts in Budapest on a scholarship. Early in his career he traveled to China, Japan, Philippines, Java, Bali and Australia, where his reputation grew rapidly. Here he produced portraits in oils, and lithographs of the Chinese, as well as landscape works in oils,depicting the local countryside, and canal, street and city scenes. His exposure to the arts of the Chinese, with their simplicity of line, greatly influenced his later works. In 1939 he established a studio at Lavender Bay near Sydney. In 1940 he exhibited at the Macquarie Galleries in Sydney. In 1944 he married Joyce Greer, the Melbourne concert pianist. In 1945 the couple moved to New York where his interest in horses grew. He held exhibitions at Gallery Wildenstein, Herve, and FAR Gallery. In 1946 Holesch moved to Montreal where he exhibited at the National Gallery of Montreal. In 1947 he moved to Boston where he continued painting portraits and horses. He exhibited there at the Ehrmann and Vose galleries. Later in the year he moved to San Francisco where he was invited to participate in the "Renoir to Picasso" Exhibition held at the Maxwell Gallery.1946 He moved to Montreal, Canada and exhibited at the National Gallery of Montreal. (Frederic Remington and Charles Russell) 1947 Early in the year he moved to Boston and continued painting portraits and horses. In June, he painted the portrait of Harvard Law School Dean, Erwin N. Griswold, and in October his works were exhibited at Margaret Brown's Galerie Intime, Newbury Street, Boston. 1948 He produced a clay sculpture head of Egon Petri, one of a number of clay sculptures that he produced. He also produced a number of wood carvings. His paintings were chosen for inclusion in a Group Exhibition in the National Gallery of San Francisco, and in the important and prestigious 'Renoir to Picasso' Exhibition held at Maxwell's Galleries, 372 Sutter Street, San Francisco. 1953 His works were included in a Group Impressionists Exhibition held at the Ohana Gallery, London 1954 He travelled to New York, where he was commissioned to paint Herbert Gasser, Nobel Prize Winner in Biochemistry. 1955 He returned to England, and then travelled to Paris to exhibit works in the Galerie Marcel Lenoir. 1956 He again returned to New York to work on portrait commissions and for exhibitions of his works, mainly of horses. These exhibitions were held in New York, Boston, San Francisco and late in the year at the Galleries of Frank J. Oehlschlaeger at 107 East Oak Street, Chicago. During this year, visits with his family to Ringling Circus and to a rodeo in Tucson, Arizona must have impressed him greatly, for images of these events soon appeared on his canvases. His work was greatly admired by Hollywood film- stars, such as Ann Rutherford and Burt Lancaster, and David Niven purchased one of the horse paintings to give as his wedding present to Grace Kelly on her marriage to Sovereign Prince Rainier III of Monaco. 1959 The prints of 'Courtship' and 'Chargers' were produced. It has been estimated that close to a million copies of his prints were sold over the next ten years, with 'Courtship' being advertised by Stern's Book Dpt. on 5th Avenue, New York along with prints by Picasso, Degas, Goya, Modigliani, Renoir and Van Gogh. 1960 He moved to Antibes, on the French Riviera in the South-East of France. An exhibition of his works was held in the Galerie des Etats-Unis, Cannes and his works were now permanently exhibited at Galerie Madsen, Rue St. Honore, Paris and Galerie Davis, Place Vendome, Paris. 1961 Known to Picasso, he was invited to attend a special bull-fight held in the South of France, which was organized for Pablo Picasso's 80th birthday. 1975 He moved from Voulangis to Castelfontana in the Dorf Tirol overlooking Merano, Italy. He remained there for close to a year and exhibited his works in a group exhibition in Merano in which works by Salvador Dali and Annigoni were also displayed. 1979 He returned to the old farmhouse at Voulangis. During this time he painted the portrait of Pope John Paul II. 1989 a catalog and biography of Holesch entitled Holesch Horse Paintings 1910-1983 was published by Andrew Mackenzie...

This is an oil on artist board (unframed) by the important Hungarian-born and internationally celebrated Denes de Holesch (1910-1983). Denes de Holesch was an international equestrian artist. His works have been exhibited all over the world, including in New York, Beverly Hills, Boston, Chicago, Paris, Mexico City, Montreal, Tokyo, Sydney, and Madrid. His horse paintings fall into one of seven themes, including polo, cowboys, circus, rodeo, hunt, bull-fight, race-course and running free. His mastery of the subject has been compared to that of Picasso, Delacroix and Franc Marc. 1910 Denes Dezo George de Holesch was born on 9 February, 1910 at Banska-Bystrica, Northern Hungary. He was the third child and youngest son of Hugo de Holesch, an architect and Margit, nee Wagner. Many generations of the de Holesch family had worked as professional architects. He studied at the Hungarian Academy of Fine Arts in Budapest on a scholarship. Early in his career he traveled to China, Japan, Philippines, Java, Bali and Australia, where his reputation grew rapidly. Here he produced portraits in oils, and lithographs of the Chinese, as well as landscape works in oils,depicting the local countryside, and canal, street and city scenes. His exposure to the arts of the Chinese, with their simplicity of line, greatly influenced his later works. In 1939 he established a studio at Lavender Bay near Sydney. In 1940 he exhibited at the Macquarie Galleries in Sydney. In 1944 he married Joyce Greer, the Melbourne concert pianist. In 1945 the couple moved to New York where his interest in horses grew. He held exhibitions at Gallery Wildenstein, Herve, and FAR Gallery. In 1946 Holesch moved to Montreal where he exhibited at the National Gallery of Montreal. In 1947 he moved to Boston where he continued painting portraits and horses. He exhibited there at the Ehrmann and Vose galleries. Later in the year he moved to San Francisco where he was invited to participate in the "Renoir to Picasso" Exhibition held at the Maxwell Gallery.1946 He moved to Montreal, Canada and exhibited at the National Gallery of Montreal. (Frederic Remington and Charles Russell) 1947 Early in the year he moved to Boston and continued painting portraits and horses. In June, he painted the portrait of Harvard Law School Dean, Erwin N. Griswold, and in October his works were exhibited at Margaret Brown's Galerie Intime, Newbury Street, Boston. 1948 He produced a clay sculpture head of Egon Petri, one of a number of clay sculptures that he produced. He also produced a number of wood carvings. His paintings were chosen for inclusion in a Group Exhibition in the National Gallery of San Francisco, and in the important and prestigious 'Renoir to Picasso' Exhibition held at Maxwell's Galleries, 372 Sutter Street, San Francisco. 1953 His works were included in a Group Impressionists Exhibition held at the Ohana Gallery, London 1954 He travelled to New York, where he was commissioned to paint Herbert Gasser, Nobel Prize Winner in Biochemistry. 1955 He returned to England, and then travelled to Paris to exhibit works in the Galerie Marcel Lenoir. 1956 He again returned to New York to work on portrait commissions and for exhibitions of his works, mainly of horses. These exhibitions were held in New York, Boston, San Francisco and late in the year at the Galleries of Frank J. Oehlschlaeger at 107 East Oak Street, Chicago. During this year, visits with his family to Ringling Circus and to a rodeo in Tucson, Arizona must have impressed him greatly, for images of these events soon appeared on his canvases. His work was greatly admired by Hollywood film- stars, such as Ann Rutherford and Burt Lancaster, and David Niven purchased one of the horse paintings to give as his wedding present to Grace Kelly on her marriage to Sovereign Prince Rainier III of Monaco. 1959 The prints of 'Courtship' and 'Chargers' were produced. It has been estimated that close to a million copies of his prints were sold over the next ten years, with 'Courtship' being advertised by Stern's Book Dpt. on 5th Avenue, New York along with prints by Picasso, Degas, Goya, Modigliani, Renoir and Van Gogh. 1960 He moved to Antibes, on the French Riviera in the South-East of France. An exhibition of his works was held in the Galerie des Etats-Unis, Cannes and his works were now permanently exhibited at Galerie Madsen, Rue St. Honore, Paris and Galerie Davis, Place Vendome, Paris. 1961 Known to Picasso, he was invited to attend a special bull-fight held in the South of France, which was organized for Pablo Picasso's 80th birthday. 1975 He moved from Voulangis to Castelfontana in the Dorf Tirol overlooking Merano, Italy. He remained there for close to a year and exhibited his works in a group exhibition in Merano in which works by Salvador Dali and Annigoni were also displayed. 1979 He returned to the old farmhouse at Voulangis. During this time he painted the portrait of Pope John Paul II. 1989 a catalog and biography of Holesch entitled Holesch Horse Paintings 1910-1983 was published by Andrew Mackenzie...

Yona Lotan (1926-1998) Engineer and Painter. Yona Lotan was born in Lithuania. The family moved to Tel-Aviv, Palestine in 1936. He served as a high-ranking officer in the Israeli Arm...

The artist made frame is made of yardsticks., This is a mixed media painted assemblage incorporating a sock. José Ramón Lerma, an abstract landscape painter from the Salinas Valley and one of the first Chicano artists to attend a formal art school. A member of the Beat Generation, Lerma was among the small group of Hispanic Chicano artists who emerged out of post-War San Francisco studying with Hassel Smith, Edward Corbett and James Budd Dixon at the California School of Fine Art in the early ‘50s, he hung a show at Spatsa gallery in 1959. Lerma immersed himself in the San Francisco that was the home of Beat Culture and an important center for Abstract Expressionism. Lerma's peers include Wallace Berman, George Herms, Roy De Forest, Bruce Conner, Manuel Neri, William T. Wiley, Luis Cervantes and Jay DeFeo. He was integral to the burgeoning gallery scene in San Francisco in the early 60's having solo exhibitions at seminal gallery spaces the East-West Gallery, The Cellar, Spatsa Gallery, Russian Hill Gallery and most recently a major retrospective of his paintings, collages and constructions from 1954-2000 was held at Intersection for the Arts. Lerma has also participated in numerous group exhibitions including the Oakland Museum, The San Francisco Museum of Art, The Sonoma County Museum, Galeria de la Raza, Gallery Sanchez, Somar Gallery, Mission Cultural Center, Richmond Art Center, La Raza Graphics Center, and the Walter and McBean Galleries at SFAI. His work has also been exhibited nationally including the Chicago Museum of Contemporary Art, Museum of Albuquerque, Los Angeles Municipal Art Gallery, Evergreen State College, and Tuscon Museum of the Arts. Lerma lives and works in Oakland, CA. Born April 13, 1930 Hollister, California (San Benito County) 1954-1958 Attended California School of Fine Arts Scholarship and G.I. Bill Bachelor’s of Fine Arts 1958 San Francisco, California 1951-1953 U.S. Army Medical Corp & Intelligence 223rd Regimental Headquarters, 40th Division, Korea 1950-1951 Attended California School of Fine Arts (S.F. Art Institute) San Francisco, California 1948 Received scholarship to California School of Fine Arts (S.F. Art Institute) San Francisco, California SCHOOLING California School of Fine Arts, later to become the San Francisco Art Institute in San Francisco, California. served in the United States Army from October 1951 to August 1953. 1954-1958 Design Instructors: Dorr Bothwell Painting Instructors:Roger Barr, Elmer Bischoff, Ralph DuCasse and Ralph Putzker Color and Composition Instructors: Jean Varda...

This is an oil on canvas. it is unsigned. Yona Lotan (1926-1998) Engineer and Painter. Yona Lotan was born in Lithuania. The family moved to Tel-Aviv, Palestine in 1936. He served as...

This is a bright, colorful oil painting of a table top with fruit. Banana, Pomegranate and glass of water. George Chemeche was born in Israel in 1934 and studied at the Avni Art School in Tel Aviv and the Ecole des Beaux Arts in Paris. this painter and printmaker's sensual and romantic yet rationally conceived screen prints featuring plants and flowers are associated with the PATTERN & DECORATION movement of the late 1960s and early 1970s. His style is non-minimalist, sensuous, romantic, rational and decorative. it runs counter to the modernist taboo against a decorative quality in art. Though pattern painting's roots are in modern art, it contradicts some of its basic tenets as it attempts to assimilate aspects of Western and non-Western culture not previously accepted into the realm of high art. In Chemeche´s work, we can see how chosen motifs are repeated in order to cover a surface in a uniform way. The results often have a painterly feel, but remain systematic. The intention is to make a high-art statement within a contemporary context by referring to, and using what to many still remains within the world of non-art. Pattern painting, unlike abstractionism, has structure. It also has content as it refers to patterns in the real world. Usually, patterning intentionally acknowledges the decorative function of art, reconciling both the decorative and the meaningful. INDIVIDUAL EXHIBITIONS: Goldman Art Gallery, Haifa, Israel Gordon Gallery, Tel Aviv, "Six Artists" Biv Gallery, New York, "Chelsea Artists" Makler Gallery, Philadelphia, Pa. "FJ.A.C.," Petit Palais Paris Galerie Naire, Paris Weintraub Gallery, New York, Print Show Louis K. Meisel Gallery, New York Alexandra Monett Gallery, Brussels Givon Art GaJIery, Tel Aviv South Houston Gallery, New York Ray Landis Gallery, East Brunswick, New Jersey Gala Gallery, Key Biscayne, Florida Art Asia Gallery, Cambridge, Mass. Bertha Urdang Gallery, New York Selected Artists Gallery, New York Mabat Art Gallery, Tel Aviv Goldman Art Gallery, Haifa, Israel OHana Gallery, London "Six Artists", Modern Art Gallery, Old Jaffa Modern Art Gallery, Old Jaffa The Autumn Exhibition, Tel Aviv Museum Dugith Art Gallery, Tel Aviv Hadassa "K" Klachkin Art Gallery, Tel Aviv Rina Art Gallery, Jerusalem The Museum of Modern Art, Haifa Chemerinsky Art Gallery, Tel Aviv Galerie Transposition, Paris Collective Exhibitions "Young Artists", Tel Aviv Museum Salon de La Jeune Peinture, Musee d'art Moderne, Paris A well listed Painter...

His early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind.[citation needed] Masson experimented with altered states of consciousness with artists such as Antonin Artaud, Michel Leiris, Joan Miró, Georges Bataille, Jean Dubuffet, and Georges Malkine, who were neighbors of his studio in Paris. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatic drawing rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s). Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes.[citation needed] Living in New Preston, Connecticut his work became an important influence on American abstract expressionists, such as Jackson Pollock. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes. Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. His brother-in-law, the psychoanalyst Jacques Lacan...

Oil on Canvas or a Parisian Street Scene with charming shops and a park. signed lower right and verso. Ange Mozziconacci was born on June 22, 1939 in Ajaccio, capital city of the French island...

#9 Geeks and Gargoyles (for Nelson Algren) Mixed Media and Collage Provenance: Obelisk Gallery, Boston, 1967 (label verso) the word Chicago is featured prominently in this piece. Sometimes described as Rhode Island’s most famous New York artist, Richard Merkin has led a dual life for nearly 40 years - teaching at RISD while enjoying a celebrated painting career based in New York City. He has exhibited in countless gallery and museum shows in the US and abroad and is represented in the permanent collections of the Smithsonian Institution, The Museum of Modern Art, the Whitney Museum, the RISD museum and many others. In addition to contributing drawings and paintings to The New Yorker (along with, Art Spiegelman, Saul Steinberg, Harper’s, The New York Times Sunday Magazine and several books on Erotica and Baseball, he is a contributing editor for Vanity Fair and a former style columnist for GQ. Merkin’s honors include a Tiffany Foundation Fellowship and the Rosenthal Foundation Award from the American Academy of Arts and Letters. Museums and Selected Collections : The American Federation of Arts, New York, NY Brooklyn Museum, Brooklyn, NY Chrysler Museum of Art, Norfolk, VA First city Bank, Chicago, Ill Fisk University Art Gallery, Nashville, TN Hallmark Collections, Kansas City, MO Massachusetts Institute of Technology, Cambridge, MA Maimi-Dade Junior College, Miami, FL Michigan State University, East Lansing, MI Minnesota Museum of Art, Minneapolis, MN Museum of Modern Art, New York, NY Museum of Art, Rhode Island School of Design, RI McClung Museum, University of Tennessee, Knoxville, TN Pennsylvania Acadamy of the Arts, Philadelphia PA Prudential Insurance Company, Boston, Ma Prudential Insurance Company, Newark, NJ Rose Art Museum, Brandeis University, Waltham, MA Sara Robey Foundation, New York, NY Smithsonian Institution, Washington, DC State University of Brockport, Brockport, NY Whitney Museum of American Art, New York, NY Selected Publications : 1986-Present Contributing Editor, Vanity Fair ..1988-Present, New Yorker... 1988-Present, style column, GQ...1997, Text and Illustration for The Tijuana Bibles, published by Simon & Shuster, 1995, Illustrated book, Leagues Apart: the Men and Times of the Negro Baseball Leagues published by Morrow. 1967 Cover of the Beatles “Sgt. Peppers Lonely Hearts Club Band” Album (Mr. Merkin appears in the back row, right of center) RISD: MFA in Painting, 1963; Professor, Department of Painting special skill: Merging his role as flaneur (connoisseur of city life) with his role as painter and social historian, Merkin retrieves lost cultural artifacts – a Turkish cigarette, a gangster, a bowler and generally “things most people don’t know about” – and reconstitutes their Jazz Age virtues on canvas in cubist, comic-laced landscapes of tropical color. (ala Robert Crumb and Ben Katchor) breaking in: Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy – a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick – soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes: William Burroughs, Bobby Short...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...

Harry Koursaros (1928-1986) Peaceable Kingdom, the Ram, 1983 Framed 34 X 45. sheet 25.5 X 37 Hand Signed Provenance: Bank of Boston corporate collection. bears label verso. Harry Koursaros, Artist, painter, printmaker and filmmaker Student at Albright College class of 1950. In 1964 he came to Albright College as professor to establish an Art Department, and gained national recognition. He started as a modernist realist, later moving to Abstract Expressionism and eventually into Pattern & Decoration. He painted with metallic and iridescent pigments. In the late 1960s he began a program of "underground" films at the college. Many of these were avant-garde works from New York that included works by Andy Warhol. One of Koursaros students, Jerry Tartaglia, founded in 1974 the Berks Filmmakers, a group of cutting-edge movie makers who acquired an international reputation. He was included in numerous shows: "Discovering Color": Two Decades of Abstraction, paintings, works on paper, and prints from three pivotal art movements in America during the sixties and seventies: Abstract Expressionism, Color Field Painting, and Minimalism. Artists include Edward Avedisian, Walter Darby Bannard, Dan Christensen, John Grillo, Lee Krasner, and more. “Drawn From the Collection” paintings, limited edition prints and photos by such notables, among others, as Mark Tobey, Alice Baber, Rufino Tamayo and a photograph by Gordon Parks. "20/20": The Visionary Legacy of Doris Chanin Freedman. Works by Nicholas Africano, Ida Applebroog, William Baziotes, Bernd and Hilla Becher, Joseph Beuys, Jime Dine, Gunther Forg, Leon Golub, April Gornik, Hans Haacke, Keith Haring, Jenny Holzer, Komar and Melamid, Harry Koursaros, Lee Krasner, Robert Mapplethorpe, Ana...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Louis Wolchonok was a social realist painter and member of the Woodstock Art Association. His work was exhibited at the Whitney Museum of American Art, the National Academy of Design...

Provenance: Galeria Durban Cesar Segnini, Caracas Venezuela. Emerio Dario Lunar was born on January 27, 1940 in Cabimas, Zulia state. Self-taught ...

William (Sunny) Weintraub, Israeli (Born 1926) Oil on masonite William Weintraub (He was also known as Shlomo Weintraub and nicknamed Sonny Weintraub) Genre: Impressionist Subject: Portrait Medium: Oil Surface: Canvas Dimensions: framed 24 X 32.5 canvas 19 X 27 In an ever-changing art world that embraces one movement after the next, the timeless art of portraiture can become lost. Portraiture is often associated with the royal paintings of centuries-old French kings, European nobility, and other wealthy individuals from art history's past. However, styles like Social Realism and Dutch genre painting spotlighted...

A Judaica painting with Hebrew Calligraphy by noted Chicago Modernist. Alexander Raymond Katz (his Hungarian first name, Sandor, was anglicized to A...

Framed 33 X 45.5 image is 29 X 41.5 Hand signed lower left Signed and titled verso Sylvia Carewe (1906-1981) was an American woman artist, painter, writer and poet. Born in New York City to Russian immigrant parents, Louis and Esther Kerewsky, she changed her surname to "Carewe" in 1930. Carewe attended Columbia University and studied further with Yasuo Kuniyoshi at Atelier 17 in New York, with Hans Hoffman in New York and Provincetown, Massachusetts, and at the New School for Social Research. During World War II Carewe worked as an advertising copywriter and artist for agencies in New York. She became a prolific abstract artist in a range of media, including tapestry designs for the Aubusson tapestry carpet company in France, felt banners, collage reliefs, and what she termed "blown paintings," which were assemblages (predominantly of children's toy components) overlaid with spray paint. One of the most common subjects in her semi abstract paintings was New York City at night. She also worked in traditional artistic media, including watercolors, oils, lithographs and pastels. In October 1944, she married Marvin Small (formerly Smalheiser, executive for Carter's Little Liver Pills). They had one child, John Marvin, in June 1947. Carewe had her first one-woman show in Poughkeepsie in 1947, after which she opened in New York City at the ACA Gallery in 1948. She had some twenty other American solo shows and her works hung in many exhibits across the United States as well as in France, Belgium and the Netherlands. Her works are represented in the permanent collections of the Whitney Museum, Musée de l'Arte Moderne, Paris, Brandeis University, the Butler Art Institute, Howard University, the Tel Aviv Museum and the National Museum in Djakarta, Indonesia. Her work has been described by French critics as "violent, colorful art, in hard contrasts, not exempt from cold lyricism." ["Les Girls...

Aaron Fink (American, b. 1955) Hand signed and dated 1986, verso. The large canvas size measures approx: 72" x 66". This painting is part of the artist's "Images of Gambling" series, amongst his best figural work. Aaron Fink was born in Boston in 1955. He received his MFA from Yale University and his BFA from the Maryland Institute College of Art. His work has been exhibited widely throughout the U.S., Europe and Japan and Australia, and is included in the collections of the Museum of Modern Art, NY, the Art Institute of Chicago, the Museum of Fine Arts, Boston and the Walker Art Center, Minneapolis, among many others. He lives and works in the Boston area. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. Figurative abstract expressionist art. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers, who remained a strong supporter of his work until his death in 1999. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink currently divides his time between Boston and Rockport, Massachusetts. He was included in the show The Expressive Voice: Selections from the Permanent Collection at the Danforth Museum of Art. An exhibition of Boston Expressionism, a school that embraced a distinctive blend of visionary painting, dark humor, religious mysticism, and social commentary. Historical roots of this movement can be traced to European Symbolism and German Expressionism, but artists living and working in the Boston area from the 1930’s through the 1950’s, were particularly inspired by Chaim Soutine and Max Beckmann. Artists included; Aaron Fink, Bernard Chaet, David Aronson, Ernst Ludwig Kirchner, Hyman Bloom, Jack Levine, Jackson Pollock, Jason Berger, Karl Zerbe, Lawrence Kupferman, Michael Mazur, Sigmund Abeles and Willem de Kooning. He was included in the show 40 Years of Printmaking: From the Center Street Studio Archives, along other great figural artists Gabor Peterdi, John Walker, Lester Johnson and Nell Blaine. S E L E C T E D C O L L E C T I O N S Art Institute of Chicago Bank of America Boston Public Library Bouwfonds Nederlandse Gemeenten, The Netherlands Brooklyn Museum of Art Castelli Collection, New York Chase Manhattan Bank Chemical Bank Choate Rosemary Hall, Wallingford, CT Citizens Bank, Boston Coopers & Lybrand Danforth Museum, Framingham, MA Danish House of Parliament Davis Museum, Wellesley College, Wellesley, MA DeCordova Museum and Sculpture Park Lincoln, MA Farnsworth Museum, Maine Fidelity Investments, Boston Fogg Museum of Art, Harvard University, Cambridge, MA Fuller Museum of Art, Brockton, MA G.E. Corporation Goldman Sachs & Company IBM, New York Indianapolis Museum of Art Library of Congress Massachusetts Institute of Technology, Cambridge, MA Metropolitan Museum of Art, New York Museum of Contemporary Art, Chicago Museum of Fine Arts, Boston Museum of Modern Art, New York National Gallery of Art, Washington, DC New York Public Library Philadelphia Museum of Art Portland Museum of Art, Portland, Maine United States Department of State University of Massachusetts, Amherst Awards Residency, Anderson Ranch, Snowmass, CO, 1998, 1996 National Endowment for the Arts, 1987, 1982 Artist Fellowship, Massachusetts Council on the Arts and Humanities, 1984 American Academy in Rome, Prix de Rome – Alternate in Painting, 1979 Yale University, Ford Foundation Special Project Grant, Fall 1979 Skowhegan Scholarship Award, conferred by the Maryland Institute College of Art, Spring 1976 SELECTED GROUP EXHIBITIONS Contemporary Responses to Modernism: A New England Perspective, University of Southern Maine Color and Line: Expressive Tradition in Boston, Endicott College, Beverly, MA, Beautiful Decay, Danforth Art Museum, Framingham, MA MICA Then and Now, Ethan Cohen Gallery, Beacon, NY Bon Appetit, Concord Art Association Celebrating Ten Years, Galerie D’Avignon, Montreal, Canada New England Impressions: Exploring the Woodcut, Concord Art, Concord, MA Go Figure: The Figure in Contemporary Art – A Response to Art History, Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA Working Sources: The Painter and the Photographic Image, Alpha Gallery, Boston, MA The Unique Print: Six Innovative Approaches to the Monotype, Starr Gallery, Newton, MA Selections from Atelier Mourlot, Hankyu Department Store, Tokyo, Japan Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993 70’s and 80’s: Printmaking Now, Museum of Fine Arts, Boston, MA, 1986-1987 Skowhegan Alumni, Leo Castelli Gallery, New York, and Portland Museum of Art, Portland, Maine, Public and Private: American Prints Today, Brooklyn Museum, Brooklyn, NY Contemporary Miami Collectors, Metropolitan Museum, Coral Gables, FL, 1984 The American Artist as Printmaker, Brooklyn Museum, Brooklyn, NY, 1983-84 Jon Abbott, Aaron Fink, Tom Lieber, Chris Wool...

MacConnel, Kim Robert (American, California, born 1946) Chindambaram Temple, India Medium: Collage of commercial photo prints on cardboard with acrylic, with mirror insets in the a...

Diti Almog (Israeli, b. 1960) CMMM, 1999; Acrylic on aircraft plywood; Signed, dated and titled; 12'' x 14''; Provenance: Baldwin Gallery, Colorado BIOGRAPHY Born Haifa, Israel 1982 – 1986 Bezalel Academy of Art, Jerusalem, Israel Lives and works in New York Currently teaching at NYU, New York SOLO EXHIBITIONS 2012 Inga Gallery, Tel Aviv, Israel 2009 Spacesurplus, New York 2008 Inga Gallery, Tel Aviv, Israel 2007 Wetterling Gallery, Stockholm, Sweden 2006 Tel Aviv Museum of Art, Tel Aviv, Israel 2004 Wetterling Gallery, Stockholm, Sweden 2002 Wetterling Gallery, Stockholm, Sweden 2000 Gallerie Anne de Villepoix, Paris, France Baldwin Gallery, Aspen, Colorado Marianne Boesky Gallery, New York 1999 Baldwin Gallery, Aspen, Colorado 1998 Gallery Anne de Villepoix, Paris, France 1997 Marianne Boesky Gallery, New York Mitchell-Innes & Nash Gallery, New York 1996 Boesky & Callery Gallery, New York 1995 Artifact Gallery, Tel Aviv, Israel 1992 Artifact Gallery, Tel Aviv, Israel 1991 Artifact Gallery, Tel Aviv, Israel 1990 Artifact Gallery, Tel Aviv, Israel 1988 The Israel Museum, Jerusalem, Israel Artifact Gallery, Tel Aviv, Israel 1987 Borgrashov Gallery, Tel Aviv, Israel SELECTED GROUP EXHIBITIONS 2010 High Definition, Bezalel Gallery, Tel Aviv, Israel. Curated by Ruti, Director 2008 Reframing, CCA Andratx, Mallorca, Spain. Curated by Barry Schwabsky 2007 Horizon, Elizabeth Foundation Galleries, New York 2004 The Sydney Biennale, Sydney, Australia 2000 Compression, Feigen Contemporary, New York Telesthesia Amnescopia, The School of The Art Institute of Chicago, Illinois New Work; Abstraction, Hosfelt Gallery, San Francisco 1999 Christmas Paintings, Marianne Boesky Gallery, New York The Stroke, Exit Art, New York. Curated by Ross Bleckner 1998 Painting Now and Forever, Matthew Marks Gallery, New York People, Places and Things, Marianne Boesky Gallery, New York 1996 Ceremonial, Apex Art, New York. Curated by Barry Schwabsky (brochure published) 1995 Summer Group Show, Patrick Callery, New York Summer Group Show, Bravin Post Lee Gallery, New York 1994 Art Focus, Tel Aviv Museum of Art, Tel Aviv, Israel 1993 Locus, Fisher Gallery, University of Southern California, Los Angeles 1991 Perspective, The Tel Aviv Museum of Art, Tel Aviv, Israel 1990 Aperto, Venice Biennale – The Israeli Proposal, Museum of Israeli Art, Ramat Gan, Israel The Museum as Collector, Tel Aviv Museum of Art, Tel Aviv, Israel Life Size, a Sense of the Real in Recent Art, The Israel Museum, Jerusalem (The opening of the Nathan Cummings 20th Century Building) Feminine Presence, Tel Aviv Museum of Art, Tel Aviv, Israel 1988 Fresh Paint, The Tel Aviv Museum of Art, Tel Aviv, Israel 1986 Artists Studios, Aika Brown...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a watercolor and gouache beach scene three young men bathing...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

This is an oil painting on board probably from Woodstock or Cape Cod Frederick Serger (1889-1965) He was born in Czechoslovakia, studied art in Vienna, and in Munich with t...

Ivan Kurach (1909 – 1968) Ukranian-Italian lived and studied in Italy. Russian Constructivist or Futurist style work on paper. there is some creasing to the paper but it should lay f...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. Thes...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. Thes...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Collage and Painted mixed media artwork painting. Born 1930 in Chile, Golomb immigrated to Palestine in 1935. He later became a member of the Radius Group and an instructor at the Avni Institute, Tel Aviv. He had 20 one-man shows and participated in numerous exhibitions. Golomb has been using oils, tempera, acrylic, encaustic and pencil to produce his works often based on musical associations. Education: With Canadian, Barry Ortzki, a pupil of Henry Moore, and studied painting in tempera with Ernst Fuchs and Wolfgang Manner, Reichenau, Austria Studied drawing with Esther Peretz Arad and Avinoam Kosowsky Teaching Avni Institute, Tel Aviv Group Exhibition, Radius, Tel Aviv 11 February, 1984 - 7 March, 1984 Artists: Shimon Avni, Lea Nikel...