{"title":"Judaica \u0026 Israeli Art","description":"","products":[{"product_id":"original-judaica-woodcut-print-joyous-songs-dancing-jewish-couple","title":"Original Judaica Woodcut Print  'Joyous Songs' Dancing Jewish Couple","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eOriginal pencil signed Judaic woodcut on mulberry paper. MORTON GARCHIK\u003c\/p\u003e\u003cp\u003e(1929-2009)\u003c\/p\u003e\u003cp\u003eJewish American artist painter, printmaker, illustrator, woodcut artist and author. Garchik was educated at the Art School of the Brooklyn Museum and the School of Visual Arts where he won the First Prize in drawing. Since then he has received many more prizes. He designed of the Book cover of “Gimpel The Fool” by Isaac Bashevis Singer.\u003c\/p\u003e\u003cp\u003eHis woodcuts appeared in Harper's Magazine and books.His graphics have appeared in the Seattle Art Museum’s International Exhibitions, the Honolulu Printmakers International, DePaul Univ. 7th Annual Contemporary American Printmakers Exhibition. He has had numerous one-man shows in the United States and Canada. In New York his work was represented by the Associated American Artists gallery. The Minnesota Museum of Art and The Library of Congress have acquired examples of his work.\u003c\/p\u003e\u003cp\u003eBest known for his woodcuts, Morton Garchik is a New York artist with an expressive, humorous style. After he left school, the scratchy, folksy Expressionist style of his woodcuts gained recognition and he began exhibiting throughout the United States. Garchik had one-man shows in New York, Chicago, and Toronto, Canada. His work can be found in the collection of the MIT List Visual Arts Center\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628203639082,"sku":"a_12786882S1","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_6A6E6DA2C27044B083CAAC265B05C4CE_master.jpg?v=1780507164"},{"product_id":"rare-judaica-chevron-bezalel-zeev-raban-chromolithograph-made-in-palestine","title":"Rare Judaica Chevron Bezalel Zeev Raban Chromolithograph (made in Palestine)","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 11.75, W: 15.0, D: 2 IN\u003c\/p\u003e\u003cp\u003eJerusalem's Bezalel School The Bezalel Academy of Arts and Design, was founded in 1906 by Boris Schatz. In 1903, Schatz met Theodore Herzl and became an ardent Zionist. At the Zionist Congress of 1905, he proposed the idea of an art school in the Yishuv (early Jewish settlements), and in 1906 he moved to Israel and founded the Bezalel School of Art in Jerusalem. Bezalel,\u003c\/p\u003e\u003cp\u003ewhich was a school for crafts as well as for graphic art, became successful very rapidly. Schatz’s vision was to develop useful arts and crafts among Palestinian Jews, thereby decreasing the dependence on charity. At the same time, he sought to inspire his students to create a Jewish national style of the arts, in order to promote the Zionist endeavor. The inhabitants of 19th-century Palestine, both Jewish and non-Jewish, had produced mostly folk art, ritual objects and olive-wood and shell-work souvenirs, so the founding of Bezalel provided a professional and ideological framework for the arts and crafts in Jerusalem. The school employed workers and students, of whom there were 450 in 1913, in manufacturing, chiefly for export, decorative articles ranging from cane furniture, inlaid frames and ivory and wood carvings, to damascene and silver filigree and repousse work.\u003c\/p\u003e\u003cp\u003eA major part of Schatz’s school was the workshops, which, starting with rug-making and silversmithing, eventually offered 30 different crafts. Workshops included the \"Menorah\" workshop where they designed relief and souvenirs made of terra-Cotta, and the Sharar, Stanetsky and Alfred Salzmann workshops where Menorah lamps, candlesticks, brass plates for Passover, and many other ceremonial and souvenir items were made.\u003c\/p\u003e\u003cp\u003eIntended to create an original national style, Bezalel artifacts were a\u003c\/p\u003e\u003cp\u003emixture of oriental styles and techniques with Art Nouveau features, art deco styles and influences from the Arts and Crafts Movement.\u003c\/p\u003e\u003cp\u003eThe Academy reopened after Schatz's death in 1935 led by the new director, Joseph Budko, who took advantage of the many new European immigrants' talent and energy and succeeded in revitalizing the school. In the mid 1930's, Bezalel was reestablished by German and European refugee artists driven to Palestine by the Nazis, and underwent a final reorganization in 1965 that established Bezalel as a school for crafts. A small museum was added to the school which became the foundation for the Bezalel Museum\u003c\/p\u003e\u003cp\u003elater to become the world famous Israel Museum. Bezalel strove to foster in its students a national style of art, drawing both from European\u003c\/p\u003e\u003cp\u003etechniques and Near Eastern art forms. While centers of Jewish art could be found elsewhere early in the 20th century (such as the school of Yehuda Pen in Vitebsk where Marc Chagall had studied) these were even more short lived. Bezalel subjects were a combination of traditional Jewish religious images, Zionist symbols, Biblical themes, views of the Holy Land and depictions of the flora and fauna of Palestine.\u003c\/p\u003e\u003cp\u003eArtists at the Bezalel School used holy places, female figures and the beautiful landscapes of the holy land in their work.\u003c\/p\u003e\u003cp\u003eZev Raban, a major Bezalel artist, also designed products for various artistic cooperatives that were under the control of Bezalel: for Moshe Murro, Bezalel amulet artist, Raban designed many items, later executed in metal and ivory. For the famous Bezalel Yemenite jeweler- Yichieh Yemini, Raban designed many jewelries and Filigree works. Renowned Bezalel School artists include Meir Gur Arieh, Zev Raban, Jacob Eisenberg, Jacob Steinhardt, and Hermann Struck.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628203868458,"sku":"a_12795362S1","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A74A5071950140AFAB07C93524147FEE_master.jpg?v=1780507168"},{"product_id":"rare-french-paris-1935-judaica-oil-painting-rabbis-studying-s-fleischman","title":"Rare French, Paris 1935 Judaica Oil Painting Rabbis Studying S. Fleischman","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 27.5, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eRare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish scene with a particular sensitivity. Part of the Ecole De Paris The term \"School of Paris\" was used in 1925 by André Warnod (fr) to refer to the many foreign-born artists who had migrated to Paris. School of Paris artists were progressively marginalized. Beginning in 1935 art publications no longer wrote about Marc Chagall, just magazines for Jewish audiences, and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all. The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The \"core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti-Semitism.\" One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard (fr) referred to them as the School of Paris. Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Moïse Kisling, Maxa Nordau and Shimshon Holzman. The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a cubist style, but most tended toward expression of mood rather than an emphasis on formal structure. Their paintings often feature thickly brushed or troweled impasto. The Musée d'Art et d'Histoire du Judaïsme has works from School of Paris artists including Jules Pascin, Michel Kikoine, Soutine, Chana Orloff and Jacques Lipchitz.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628206326058,"sku":"a_12809722S1","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_034D28C67F014663A78995A8798F74FE_master_0a29de20-cbe4-43a0-9a8c-93cb347f490d.jpg?v=1780507184"},{"product_id":"girl-plants-enamel-glazed-ceramic-plaque-israeli-artist-awret-naive-folk-art","title":"Girl \u0026 Plants Enamel Glazed Ceramic Plaque Israeli Artist Awret Naive Folk Art","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.25, W: 20.75 IN\u003c\/p\u003e\u003cp\u003eThis is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check)\u003c\/p\u003e\u003cp\u003ethe actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style.\u003c\/p\u003e\u003cp\u003eIrène 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.\u003c\/p\u003e\u003cp\u003eWhen 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.\u003c\/p\u003e\u003cp\u003eAwret 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 - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation.\u003c\/p\u003e\u003cp\u003eAfter the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter.\u003c\/p\u003e\u003cp\u003eThe Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk, Charlie Chaplin and Joan Fontaine. She wrote an autobiography\u003c\/p\u003e\u003cp\u003e\"They Will Have to Catch Me First.\" detailing her life during the Holocaust and how art saved her. Israel has had a Vibrant Folk Art, Naive art scene for a long time now beginning with the Bezalel school, artists like Israel Paldi, Nahum Guttman, Reuven Rubin had naive periods. The most well know of the strict naive artists are Shalom of Safed, David Sharir, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628207407402,"sku":"a_12813852S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_AABCED95B5F44B1A80F33FAB22FF7C64_master_4b6afca4-30e3-42fb-99b2-b3e5f9aaf855.jpg?v=1780507192"},{"product_id":"modernist-american-judaica-painting-purim-dancing-on-haman","title":"Modernist American Judaica Painting Purim, Dancing on Haman","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eIn this painting, Nussbaum portrays a joyful holiday celebration of the megillah reading in the synagogue in a sketch-like manner without focusing on any specific details. The vibrant colors used in this painting seem to overlay each other without being previous mixed. A jewish man celebrating Purim in a semi-abstract manner using vibrant colors in a gestural manner. This artwork exemplifies the artist's oeuvre and concentration in Hebraic themes.\u003c\/p\u003e\u003cp\u003eErvin B. Nussbaum was born in Columbus, Ohio on November 11, 1914. His father, Marger, had arrived as part of the great Russian Diaspora of the time, when many Jewish families settled in Ohio, particularly in the Columbus area.\u003c\/p\u003e\u003cp\u003eNussbaum attended Ohio State University during the Great Depression and continued to live in Ohio until America’s involvement in World War II. His oil painting The End of John Brown, which depicts a fictionalization of the American abolitionist’s final hours, won first prize at the Central Ohio Competition in 1941. The piece then toured the country stopping at the San Francisco Museum, the Butler Art Institute, the Philadelphia Academy and the Corcoran Gallery. Donated in 2001, the painting is now part of the permanent collection at the Torrington Historical Society in Torrington, Connecticut, John Brown’s birthplace.\u003c\/p\u003e\u003cp\u003eWhen the war began, Ervin, along with some 40,000 other men of all faiths, became part of the conscientious objector program known as the Civil Public Service. He spent the years 1942 through 1946 interned in government camps from New Hampshire to Maryland, working in public services such as forestry and hurricane cleanup. Many other objectors housed alongside him were of artistic inclination and shared Nussbaum’s conviction of peace, so artistic pursuits were common within these camps.\u003c\/p\u003e\u003cp\u003eDuring these early years, his paintings followed a somewhat whimsical figurative style and leaned towards patriotic and Hebraic themes. In time, these themes began to take on an almost Cubist feel and eventually leaned toward complete abstraction.\u003c\/p\u003e\u003cp\u003eUpon his release from his voluntary conscription as a CPS, Nussbaum moved to New York where he frequently painted semi-abstract landscapes in the local parks, throughout the New England countryside, and at the shorelines. He especially enjoyed painting in the woodland tranquility of Inwood Park in northern Manhattan. He paid special attention to the park’s bird life, which would soon become a new favorite subject. Their graceful movement inspired his creation of a series of avian sculptures in wood, metal or mixed medias.\u003c\/p\u003e\u003cp\u003eIn 1951, he met the dynamic young actress, playwright, musician, and graphic artist Muriel Leventhal. They married and moved to Norwalk, Connecticut in 1959. Nussbaum continued to work in a variety of media and showed regularly in many different galleries throughout Connecticut. His bronze sculpture Three Girls on a Flower was commissioned by the Trumbull Library and a wood bas-relief was created for the sanctuary at the Yonkers Temple Emanuel. Nussbaum would remain in Norwalk until his death in 1996.\u003c\/p\u003e\u003cp\u003eWhen contemplating the work of Ervin Nussbaum, we find the soul of a man set in principles of profound religious and patriotic convictions as well as a deep abiding love of nature. His art shows us the evolution of the man through the evolution of the styles he undertook during his lifetime; from figurative, to cubist, to complete abstraction; from oils, to charcoal, to a mixture of media. His works are left to us in museums across the United States, as well as in countless private collections in the U.S. and abroad.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628209471786,"sku":"a_12845012S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_726FE9372CB64C03877AE3B8DC77FCD6_master.jpg?v=1780507210"},{"product_id":"modernist-american-judaica-painting-jewish-men-outside-synagogue-eastern-parkway","title":"Modernist American Judaica Painting Jewish Men Outside Synagogue Eastern Parkway","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 21.0 IN\u003c\/p\u003e\u003cp\u003eIn this painting, Nussbaum portrays a joyful holiday celebration of the megillah reading in the synagogue in a sketch-like manner without focusing on any specific details. The vibrant colors used in this painting seem to overlay each other without being previous mixed. A jewish man celebrating Purim in a semi-abstract manner using vibrant colors in a gestural manner. This artwork exemplifies the artist's oeuvre and concentration in Hebraic themes.\u003c\/p\u003e\u003cp\u003eErvin B. Nussbaum was born in Columbus, Ohio on November 11, 1914. His father, Marger, had arrived as part of the great Russian Diaspora of the time, when many Jewish families settled in Ohio, particularly in the Columbus area.\u003c\/p\u003e\u003cp\u003eNussbaum attended Ohio State University during the Great Depression and continued to live in Ohio until America’s involvement in World War II. His oil painting The End of John Brown, which depicts a fictionalization of the American abolitionist’s final hours, won first prize at the Central Ohio Competition in 1941. The piece then toured the country stopping at the San Francisco Museum, the Butler Art Institute, the Philadelphia Academy and the Corcoran Gallery. Donated in 2001, the painting is now part of the permanent collection at the Torrington Historical Society in Torrington, Connecticut, John Brown’s birthplace.\u003c\/p\u003e\u003cp\u003eWhen the war began, Ervin, along with some 40,000 other men of all faiths, became part of the conscientious objector program known as the Civil Public Service. He spent the years 1942 through 1946 interned in government camps from New Hampshire to Maryland, working in public services such as forestry and hurricane cleanup. Many other objectors housed alongside him were of artistic inclination and shared Nussbaum’s conviction of peace, so artistic pursuits were common within these camps.\u003c\/p\u003e\u003cp\u003eDuring these early years, his paintings followed a somewhat whimsical figurative style and leaned towards patriotic and Hebraic themes. In time, these themes began to take on an almost Cubist feel and eventually leaned toward complete abstraction.\u003c\/p\u003e\u003cp\u003eUpon his release from his voluntary conscription as a CPS, Nussbaum moved to New York where he frequently painted semi-abstract landscapes in the local parks, throughout the New England countryside, and at the shorelines. He especially enjoyed painting in the woodland tranquility of Inwood Park in northern Manhattan. He paid special attention to the park’s bird life, which would soon become a new favorite subject. Their graceful movement inspired his creation of a series of avian sculptures in wood, metal or mixed medias.\u003c\/p\u003e\u003cp\u003eIn 1951, he met the dynamic young actress, playwright, musician, and graphic artist Muriel Leventhal. They married and moved to Norwalk, Connecticut in 1959. Nussbaum continued to work in a variety of media and showed regularly in many different galleries throughout Connecticut. His bronze sculpture Three Girls on a Flower was commissioned by the Trumbull Library and a wood bas-relief was created for the sanctuary at the Yonkers Temple Emanuel. Nussbaum would remain in Norwalk until his death in 1996.\u003c\/p\u003e\u003cp\u003eWhen contemplating the work of Ervin Nussbaum, we find the soul of a man set in principles of profound religious and patriotic convictions as well as a deep abiding love of nature. His art shows us the evolution of the man through the evolution of the styles he undertook during his lifetime; from figurative, to cubist, to complete abstraction; from oils, to charcoal, to a mixture of media. His works are left to us in museums across the United States, as well as in countless private collections in the U.S. and abroad.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628209537322,"sku":"a_12845022S1","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_D580374E50E64A099DC13E699644FBB2_master.jpg?v=1780507212"},{"product_id":"1940s-israeli-modernist-oil-painting-marine-harbor-landscape-bezalel-school","title":"1940s Israeli Modernist Oil Painting Marine Harbor Landscape Bezalel School","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 31.75, W: 38.0 IN\u003c\/p\u003e\u003cp\u003eSeascape with mountain and boats in harbour. it is signed in hebrew and English. it is not dated.\u003c\/p\u003e\u003cp\u003eMORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon \u0026amp; Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work.\u003c\/p\u003e\u003cp\u003eHis works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi.\u003c\/p\u003e\u003cp\u003eEducation 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem\u003c\/p\u003e\u003cp\u003eSelected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem\u003c\/p\u003e\u003cp\u003eArtists: Dedi Ben Shaul, Lea Nikel, Yossef Zaritsky,Ephraim Fima Roytenberg, Zvi Meirovich, Aharon Kahana, Avigdor Stematsky, Mordechai Levanon, Yosl Bergner, Israel Paldi, Zvi Tolkovsky, Geula Dagan. 1960: Galerie Intime, Montréal 1959: Opening Show, Gallery Moos, Toronto (with Serge Poliakoff, Marc Chagall, Hans Erni and Paul-Émile Borduas) (1959 gallery invitation). 1959: Pulitzer Art Galleries, New York 1957: Chemerinsky Gallery, Tel Aviv 1956: Museum of Modern Art, Haifa 1955: Nora Gallery, Jerusalem 1954: Tel Aviv Museum, Tel Aviv 1954: National Museum, Washington 1953: Shore Gallery, Boston 1952: Katz Gallery, Tel Aviv 1941: Beit Pevsner, Haifa\u003c\/p\u003e\u003cp\u003eSelected collections: Haifa museum of Art Tel Aviv Museum Israel Museum, Jerusalem Boston Public Library Brooklyn Museum Fogg Art Museum, Cambridge Hartford Atheneum Metropolitan Museum of Art, New York Museum of Fine Arts, Boston Museum of Modern Art, New York Smithsonian Institution, Washington DC New York Public Library Philadelphia Museum of Art Baltimore Museum of Art Carnegie Institute of Fine Arts, Pittsburgh Fine Arts Museums of San Francisco\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628212715818,"sku":"a_12863052S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_52941EA54E954EF084A03576FBC075D5_master.jpg?v=1780507239"},{"product_id":"mid-century-modernist-israeli-sabra-in-haifa-landscape-harbor-oil-painting","title":"Mid Century Modernist Israeli 'Sabra in Haifa' Landscape Harbor Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 34.0, W: 36.5 IN\u003c\/p\u003e\u003cp\u003eGenre: Classic Subject: Portrait, Sabra in Haifa Medium: Oil Surface: Canvas Country: United States\u003c\/p\u003e\u003cp\u003eBacia Gordon (1904-1977) came to the United States from Poland and studied at the Art Institute of Chicago. She traveled widely the United States, Mexico, Europe, and Israel. She was a member of, and has exhibited with Artists Equity, Jewish Arts Club, the Renaissance Society of the University of Chicago, The Chicago Art Institute, and in Migdal Ashkalon, Israel. She was also a member of the Chicago Society of Artists. Her work is represented in many private collections in New York, Los Angeles, Detroit, Cleveland, St. Paul, Rockford, Milwaukee, and Chicago. Mrs. Gordon spent much time in Israel in the 1950s and 1960s, and most of the works in this web site reflect her stay there.\u003c\/p\u003e\u003cp\u003eThe New York art critic, Alfred Werner, has said: “I find Mrs. Gordon’s freedom of paint aesthetically rewarding. She blends the reporter’s task of objectively recording appearance with the poet’s privilege of imprinting subjective reaction upon exterior reality... Here is the talent that often omits details, to let the spectator fill in, that prefers an allegorical hint to a straight tale, and that translates the strangeness of Maabaroth and Kibbutzim into terms of universally acceptable humanity”\u003c\/p\u003e\u003cp\u003eAn Israeli critic has written of Mrs. Gordon : “The Jewish Daughter, born in Lithuania and reared in the United States, was stirred by the miracle of the Ingathering of the Exiles. The men, women and children she pictures thrill and pulsate with life because of her warm and loving brush.”\u003c\/p\u003e\u003cp\u003e\"My first encounter with Israel in 1955 was inspiring and productive. It was a birds-eye view of the land and the people – the kibbutz, the village, the settlement, the Maabora, the Huleh project, Lachish at its inception, dedicated Israelis, new immigrants and the military of all ranks. I lived among people of many lands sketching and painting. I felt a great urgency to record and interpret. Working at an accelerated pace – line and color merged as I endeavored to express the universal qualities in these people. It was a tremendously stimulating experience and resulted in rechanneling my creative energy.\u003c\/p\u003e\u003cp\u003eI sketched and I wandered. I sketched in the Uval Gad where pipes are made to carry water to the Negev. I wandered among the bewildered white-robed bearded men of Morocco in Lachish… and among the older Yemenite settlements in Migdal Ashkalon. In Tiberias I saw people dressed in all garbs, the orthodox mantles of the polish ghetto and the oriental robes of the Middle East. In Hedera I sketched children in their classrooms and laboratories, some working out of doors, and others playing chase on the lawn. And from a mountaintop Huleh Region I painted swamps changing into fertile fields.\u003c\/p\u003e\u003cp\u003eI became aware of the contrasts presented by many types --- children from Iraq, Iran, Yemen, Turkey, Egypt, Persia, Morocco, Poland, Germany, Romania --- from all over Europe and Asia, some second generation Sabras… now all of them Israelis.\u003c\/p\u003e\u003cp\u003eBack home, the sketches and memories they evoked intermingled and I found myself concentrating more and more on the Israeli Theme “The Return to the Promised Land.”\u003c\/p\u003e\u003cp\u003eAgain in Israel last summer – the usual excitement plus new experiences, meeting with family, old friends, and making new friends. On a field trip thru the Negev to Eilat with Hartzfeld, stopping at small settlements, kibbutzim new and old, Massada, Ein Gedi – meeting the dedicated visionary of the Dead Sea, Yehuda Almog. As I listened, observed and sketched these early pioneers I began to see Israel through through their eyes. Some of them still play a vital role in the Israeli scene and are becoming a legend in their own lifetimes. They came to this land when it was a desert and a swamp and lived to see the fulfillment of their dreams – a state of Israel – A home for the Jewish People. They are revered today and will remain heroes in the contemporary history of Israel. The reaction of the Israel Press to my exhibition in Tel Aviv was that it “could serve as a historical document for generations to come.” Here are Jews rescued from the ghettos of Hungary, Poland, Lithuania: you can still see the lines of suffering on their faces. Here is a Yemenite family in their native dress, the young wife beside the children of the elderly husband she has married in accordance with Yemen Traditions that will soon be a relic of the past. Here are Jews from Morocco, Iran, Persia, India, and Egypt that have not yet lost the marks of their origin in this newest of national melting pots.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628212977962,"sku":"a_12863092S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_BB746F2CB59F4632A4C5306AF8A594F6_master.jpg?v=1780507242"},{"product_id":"rare-judaica-1893-jewish-yizkor-memorial-plaque-hebrew-english-chromolithograph","title":"Rare Judaica 1893 Jewish Yizkor Memorial Plaque Hebrew English Chromolithograph","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 12.25, W: 7.75 IN\u003c\/p\u003e\u003cp\u003eA rare Judaic memorial piece for mother.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628214321450,"sku":"a_12870532S1","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_3A3C16FE0092432BA36DEB44D578BB72_master_f55a8ad1-b294-48cb-932b-8640df795a8a.jpg?v=1780507248"},{"product_id":"djibouti-african-landscape-original-israeli-watercolor-cityscape-painting","title":"Djibouti, African Landscape Original Israeli Watercolor Cityscape Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.5, W: 27.5 IN\u003c\/p\u003e\u003cp\u003eSubject: Cityscape, signed in Hebrew Medium: Watercolor Surface: Paper Shmuel Katz (Hebrew: שמואל כ\"ץ‎) (August 18, 1926 – March 26, 2010) was an Israeli artist, illustrator, and cartoonist. A Holocaust survivor and postwar immigrant to Mandate Palestine via the detention camps on Cyprus, he figured prominently in Israeli illustration and newspaper cartooning, widely exhibiting and publishing his drawings and paintings at home and abroad, for which he won numerous local and international awards. His sketches and watercolors are known for their sprightly lines and touches of humor Samuel Alexander (Sandor) Katz was born in Vienna, Austria, to parents of Hungarian origin. Following the Anschluss, Austria’s annexation by Nazi Germany in March 1938, the family relocated to Hungary. After the Nazi invasion of Hungary in 1944, he was deported to a forced labor camp in Yugoslavia from which he escaped to Budapest where he was among the thousands of Jews hidden in the \"Glass House\" shelter operated by Swiss diplomat Carl Lutz, until the arrival of the Soviet Red Army in mid-February 1945. In Budapest, Katz joined the youth movement Hashomer Hatzair. He began studying architecture there in the Budapest University of Technology and Economics. In 1946, in the framework of the Aliyah Bet illegal immigration, he sailed aboard the Knesset Israel which was apprehended by the British and its passengers interned in a detention camp on Cyprus. In 1947, Katz secured a legal immigration certificate as a member of the “First of May” nucleus group of Hashomer Hatzair. The group did its pioneering training at Kibbutz Eilon on the Lebanese border, and on October 8, 1948, became the founders of Kibbutz Ga'aton in the Western Galilee, where Katz spent the rest of his life. He designed the kibbutz dining room whose interior features Hungarian folkloristic wood carving.\u003c\/p\u003e\u003cp\u003eDuring the years 1950–1953 Shmuel Katz illustrated Mishmar Layeladim, the weekly children’s supplement to the Mapam party’s newspaper, Al HaMishmar. In 1953–1954, he enrolled in the École nationale supérieure des Beaux-Arts in Paris, France, where he studied lithography, copperplate etching, fresco, and music, and toured the lands of Western Europe. In 1955, he joined the editorial board of Al HaMishmar as illustrator and graphics editor. In 1958, he traveled through East Africa, a journey whose impressions influenced his artistic and technical style and led to the 1962 publication of A Journey to the Land of Kush together with author Nathan Shaham. In 1976 he visited Iran, and the following November in Tehran exhibited artworks featuring Iran and Jerusalem. In 1979, Katz paid two visits to Egypt with the “Autonomy” delegation and was granted a private interview with Egyptian president Anwar Sadat. In 1983, he visited Hungary as a member of a delegation from Peace Now.\u003c\/p\u003e\u003cp\u003eShemuel Katz’s artworks have been exhibited extensively in Israel and abroad. His watercolors of Jerusalem have been reproduced as posters and postcards. His courtroom sketches of Adolf Eichmann’s trial in Jerusalem, 1961, are held in the art collection of Yad Vashem, Israel’s Holocaust Remembrance Authority. As an artist in the IDF, he sketched soldiers on guard and at war. Katz is well known as the illustrator of hundreds of books, especially for Sifriat Poalim, the Kibbutz Artzi movement's publishing house. Especially popular are his illustrated classics of Israeli children’s literature Shmuel Katz (Hebrew: שמואל כ\"ץ‎) (August 18, 1926 – March 26, 2010) was an Israeli artist, illustrator, and cartoonist. A Holocaust survivor and postwar immigrant to Mandate Palestine via the detention camps on Cyprus, he figured prominently in Israeli illustration and newspaper cartooning, widely exhibiting and publishing his drawings and paintings at home and abroad, for which he won numerous local and international awards. His sketches and watercolors are known for their sprightly lines and touches of humor.\u003c\/p\u003e\u003cp\u003eAwards and honors 1959 – Medal at the International Exhibition of Book Art, Leipzig, Germany 1961 – First prize in Drawing and Watercolor of the Biennale for Young Artists, Paris, France 1974 – Nordau Prize for Art, Tel Aviv, Israel 1985 – Nachum Gutman Memorial Award of the Tel Aviv municipality 1997 – International Award for Caricature, Budapest, Hungary 2006 – “Dosh” Memorial Award for Caricature, Einav Center, Tel Aviv 2007 – First “Golden Pencil” Award of the Israeli Museum of Caricature and Comic Art, Holon, Israel\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628222120234,"sku":"a_12926982S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_ED92FA4680EF45E48240DDE2B8C4A4C4_master.jpg?v=1780507324"},{"product_id":"dans-le-quartier-hongrois-de-mea-shearim-jerusalem-vintage-silver-gelatin-print","title":"Dans le Quartier Hongrois de Mea Shearim, Jerusalem Vintage Silver Gelatin Print","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.0, W: 20.0 IN\u003c\/p\u003e\u003cp\u003eMeah Shearim photograph of Torah scholars. Rabbis in Jerusalem. Photo of Hungarian quarter.\u003c\/p\u003e\u003cp\u003eFrédéric Brenner (born 1959) is a French photographer known for his documentation of Jewish communities around the world. His work has been exhibited internationally, among others, at the International Center of Photography in New York, the Musée de l'Élysée in Lausanne, Rencontres d'Arles in Arles, the Brooklyn Museum in New York, and the Joods Historisch Museum in Amsterdam. Brenner was born in Paris and grew up in France. In 1981, Brenner received a B.A. in French Literature and Social Anthropology from the Paris-Sorbonne University. He went on to study at the École des hautes études en sciences sociales and received a M.A. in Social Anthropology, also awarded by the Sorbonne. Brenner is the recipient of the Niépce Prize and his book Diaspora: Homelands in Exile won the 2004 Visual Arts Award from the Jewish Book Council. At age 19, Brenner began photographing Orthodox Jews in the Mea Shearim neighborhood of Jerusalem. Initially, he believed this was \"authentic Judaism,\" but his approach quickly evolved into an exploration of the multiplicities of dissonant identities. In 1981, Brenner began photographing Jewish communities around the world, exploring what it means to live and survive with a portable identity and how Jews adopted the traditions and manners of their home countries and yet remained part of the Jewish people. He spent 25 years chronicling the diaspora of the Jews across the world from Rome to New York, India to Yemen, Morocco to Ethiopia, Sarajevo to Samarkand. Brenner has published five books and directed three films. His work has been shown in museums and galleries around the world. He has been represented by Howard Greenberg Gallery in New York since 1990. Brenner’s opus Diaspora: Homelands in Exile was published as a two-volume set of photographs and texts by HarperCollins in 2003 and appeared in four foreign editions. Diaspora was also a major exhibition, which opened in New York at the Brooklyn Museum in 2003 and traveled to nine other cities in America, Europe and Mexico. In reviewing the book, The New Yorker wrote: “Brenner's work—elegiac, celebratory, irreverent—transcends portraiture, representing instead a prolonged, open-ended inquiry into the nature of identity and heritage.” NPR's Robert Siegel has described Brenner's work as \"a celebration of the diversity and complexity of diaspora.\"\u003c\/p\u003e\u003cp\u003eIn 2006, Brenner founded This Place, a collective photography project aimed at recontextualizing Israel from multiple perspectives. The photographers working on this project include Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, and Nick Waplington. This Place will be exhibited internationally, beginning at the DOX Centre for Contemporary Art in Prague in the fall of 2014.\u003c\/p\u003e\u003cp\u003eBibliography Jerusalem, Instants d'Eternité. Paris: Éditions Denoël, 1984. Israel. New York: HarperCollins; London: Collins Harville, 1988. With texts by A. B. Yehoshua Marranes. Paris: Editions de la Différence, 1992. With an essay by Y.H. Yerushalmi. Jews\/America\/A Representation. New York: Abrams Books, 1996. With an essay by Simon Schama. Exile at Home. New York: Abrams Books, 1998. With a poem by Yehuda Amichai. Diaspora: Homelands in Exile. New York: HarperCollins, 2003. An Archeology of Fear and Desire. London: Mack, 2014.\u003c\/p\u003e\u003cp\u003eFilmography 1991, Les derniers Marranes (The Last Marranos), with Stan Neumann, produced by Les Films d’Ici, distributed by Europe Images International. 2003, Tykocin, with Jérôme de Missolz, ZKO Films. 2003, Madres de Desaparecidos, ZKO Films.\u003c\/p\u003e\u003cp\u003eSelect Exhibitions: Musée Nicéphore-Niépce, Chalon-sur-Saône, France Consejo Mexicano de Photographias, Bellas Artes, Mexico City Joods Historisch Museum, Amsterdam International Center of Photography, New York Musée de l'Elysée, Lausanne Rencontres d'Arles, Arles Howard Greenberg Gallery, New York Brooklyn Museum, New York United Nations, New York\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628222513450,"sku":"a_12926992S1","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_EF1D8B8C97B84E3D9182DA58EC7A6A24_master_0acdff81-387f-419f-a99d-7cac553d2c2a.jpg?v=1780507326"},{"product_id":"polish-french-mid-century-modern-abstract-judaica-hebrew-calligraphy-lithograph","title":"Polish French Mid Century Modern Abstract Judaica Hebrew Calligraphy Lithograph","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 13.0, W: 10.0 IN\u003c\/p\u003e\u003cp\u003ePencil signed Lithograph or Xylograph Biography: Abram (Abraham) Krol was born January 22, 1919, in Pabianice (Lodz), Poland.\u003c\/p\u003e\u003cp\u003eKrol went to France in 1938 to study civil engineering at the University of Caen. In 1939 at the beginning of World War II he joined the Foreign Legion. After he was demobilized, he became a mechanic in a garage in Avignon. Although Jewish, he survived the war with a false identity. In 1943, Krol started studying to be an artist, taking courses in sculpture at the city’s School of Fine Art. He also began studying painting and self-described himself as a “Sunday painter.” Krol moved to Paris in 1944.\u003c\/p\u003e\u003cp\u003eThe first exhibition of his work was in 1946 in the Katia Granoff Gallery in Paris.\u003c\/p\u003e\u003cp\u003eAfter the war, Krol took up engraving, studying that art form with an engraver he met in Paris. Krol reflected his Hasidic childhood often using Biblical themes in his art works.\u003c\/p\u003e\u003cp\u003eHe said, During all my years of childhood I had read the Bible endlessly. I came back to the Bible because I was on solid ground there. It was part of the assertion of my own truth after a time of complacency. It seemed to me that in painting or engraving there were so many reefs to avoid, so many possibilities of setback, that I had to have all the odds in my favor do what I could—say what I had to say.\u003c\/p\u003e\u003cp\u003eKrol illustrated over 20 literary works from the late 1940s through the 1960s. He also engraved medals for the Paris mint and painted murals for schools in France. He designed tapestries and painted approximately 200 enamels. Museums and libraries which own Krol’s art works include the Bibliotheque Nationale in Paris; the Victoria and Albert Museum in London; the British Museum; Houghton Library, Harvard; Bodleian Library, Oxford, and the Palace of the Legion of Honor in San Francisco. Krol has had numerous one-man shows throughout Europe, Brazil, and in California. In 1960, Krol was invited to the Venice Biennale. He was awarded the Critics Prize in 1958. He also won the Feneon Prize among other honors. Krol died on October 9, 2001.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628222611754,"sku":"a_12927002S1","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9A58B479B054409E809D99C4E36DCE88_master.jpg?v=1780507328"},{"product_id":"hebron-1967-israeli-judaica-mixed-media-print-watercolor-painting","title":"Hebron, 1967 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 13.25, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eBaruch 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 throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628223660330,"sku":"a_12934422S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_C6253C78FF3A48EC82B00155D579FAE2_master_1cb82b79-067c-447e-a59d-c4de4e451a92.jpg?v=1780507335"},{"product_id":"machpela-cave-chevron-1967-israeli-judaica-mixed-media-print-watercolor-painting","title":"Machpela Cave Chevron 1967 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 13.25 IN\u003c\/p\u003e\u003cp\u003eBaruch 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 throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628225265962,"sku":"a_12940782S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_17D6E377BB804CEDBEA5E5D5E5EDD11C_master_a1876a66-4f42-41da-9f1f-4987a890f49b.jpg?v=1780507337"},{"product_id":"machpela-cave-chevron-1969-israeli-judaica-mixed-media-print-watercolor-painting","title":"Machpela Cave Chevron 1969 Israeli Judaica Mixed Media Print Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 13.25 IN\u003c\/p\u003e\u003cp\u003eBaruch 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 throughout his youth. During his military service Nachshon herded flocks for the IDF, an experience that imbued in him a love and appreciation for nature which figures prominently in his work until today. Upon completing his military service the young artist was torn between the temptation to travel to Paris, then the cultural center of the art world, and his deep love of the land of Israel, the spiritual center of the Jewish world. Opting to stay in Israel, Nachshon studied under Shlomo Nerani, Cezanne’s only pupil, with whom he had enjoyed a deep friendship extending back to his childhood. Nachshon, whom Nerani viewed as his spiritual heir, was the only one of his students allowed to see the master at work. Nachshon’s lifelong involvement in Lubavitch Hassidut began in his early adulthood, when he was drawn to the movement by its uniquely beautiful traditional melodies. In 1965 Nachshon was invited to an unprecedented three- hour private session with the Rebbe of Lubavitch, Menachem Mendel Schneerson, in New York. The young artist used the opportunity to share his concerns and misgivings about the role of the Jewish artist and the many inherent conflicts which confronted him. The Rebbe blessed Nachshon with the advice that for many generations the art of painting had failed to find its ultimate rectification in holiness, but that with the help of God he might come to bring about that long anticipated rectification. The Rebbe then offered to fund Nachshon’s studies in New York on the condition that he would find a program of study acceptable to Jewish religious values. Despite the difficulty inherent in such a task, Nachshon gladly received the Rebbe’s offer and devoted himself fully to the celebration of the wisdom of the Creator through visual art. In 1967 Nachshon and his wife Sara, along with six other families renewed the Jewish presence in Hebron for the first time since the city’s Jewish residents were massacred by Arabs in 1929. To underscore the significance of Jewish culture to the city, Nacshon opened a gallery of his art beside the Tomb of the Patriarchs. During this period Nachshon also used to visit the houses of Hebron’s Arab residents in order to paint the city from unique angles. On one of his regular visits to the Tomb of the Patriarchs, Nachshon met an elderly Breslov Hassid. The hassid urged him to recite Psalms every night for forty days, and assured him that if he did so he would merit profound revelation. Nachshon did so, and as soon as the forty days had passed he saw the heavens open, receiving visions that would charge his art forever. Since that first time, Nachshon has seen the heavens open many times and, indeed, the opening of the heavens is a recurring motif in his work. According to Nachshon, “the open sky means going beyond what is reality, seeing through.” Nachshon’s art covers a wide range of thematic material through equally diverse stylistic approaches, all of which are uniquely his own. He paints in order to define and to emphasize the presence of the active Divine Will in creation, and in order to inspire himself and others. Nachshon paints what he sees through the eyes of an inspired painter, communicating those visions to the world. Each of his paintings can be studied in the manner of a sacred text, providing numerous and vivid insights into the workings of creation and the promises held for the future. Many of his paintings describe visions of the future, of the world after its final redemption, of a world where all is peace and joy and where the revelation of divine beneficence is clear to all. Until that time, Nachshon’s paintings offer a glimpse of what could be, of what ought to be and of what will be when the work of humanity has reached its successful completion The Artist’s Prayer I express my gratitude to you, artisan of creation, for you have endowed me with the spirit of your holy inspiration. I beseech you- in your vast kindness- impart to me more and more of your holy inspiration so that I may rejoice in you, and give cause for rejoicing to your creations. Give me inspiration to reveal your presence, even in the darkest places, because everything is from you and before your presence all darkness is also light. You created your universe, and within it crafted all of your creatures so that they would come to acknowledge you. And so- this, indeed is all I ask- kindness! For there is nothing else, no words in our mouths sufficient to thank you for having created us, having made us your children- the Children of Israel- and having brought us close to you in order to serve you. You have drawn forth our spirit and illuminated all- Well of Life. -Baruch Nachshon, Hebron, 5749\u003c\/p\u003e\u003cp\u003eParticipated in group exhibitions in the Artists' Quarter in Safed, Tel Aviv, Jerusalem, in the Chai Gallery, Chabad Chassidic Art Institute in Brooklyn, and in other art galleries in Brooklyn. Championed by the Chai Gallery in Crown Heights, Brooklyn New York, they have represented all of the major Lubavitch Hasidic artists such as Baruch Nachshon, Hendel Lieberman, Zalman Kleinman, Michoel Muchnik as well as artists such as Samuel Rothbort, Harry Mccormick, Meer Akselrod and the Rebbe photos of Fridrich Vishinsky.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227133738,"sku":"a_12940792S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_FD12F568812D4064A35C96EBFD619C64_master.jpg?v=1780507339"},{"product_id":"british-modernist-portrait-of-chaim-weizmann-president-of-israel-oil-painting","title":"British Modernist Portrait of Chaim Weizmann President of Israel Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.0, W: 16.0 IN\u003c\/p\u003e\u003cp\u003eAlfred Aaron Wolmark (1877 – 1961) was a painter and decorative artist. He was a Post Impressionist and a pioneer of the New Movement in Art. He was born Aaron Wolmark into a Jewish family in Warsaw, Poland who were amongst the many subsequently fleeing the pogroms of Eastern Europe. The family moved to Devon when he was six before moving to Spitalfields, East London, there along with many other Jewish immigrant émigré families. He became a British citizen in 1894. He studied at the Royal Academy Schools and exhibited there from 1901-1936. (1895-8 (1st Silver Medallist for Drawing). There he took the name Alfred Wolmark, by which he is known. Returning briefly to Poland in 1903, he painted works based his Jewish identity and faith, refraining from depicting the persecution and anti-Semitism his family witnessed on the continent and idealising the peaceful and contemplative elements of his religion. His first one-man exhibition was held at the Bruton Galleries in 1905. In July 1911, after an artistic epiphany on honeymoon in Concarneau, Brittany, he became influenced by modern French painting, his colour palette and style became post impressionist, and Wolmark jettisoned his early methods in favour of the pioneering 'colourist' path that he followed for the next two decades of his working life. He was a British fauvist and pitched his tonal divisions to a higher key than any of his contemporaries. Wolmark kept to traditional genre, and transformed his subjects through the use of flattened forms, built up with a heavy impasto. His daring use of bright colour on some paintings such as \"An Arrangement: Group of Nudes\" demonstrate a skillset akin to Andy Warhol and earned him the title of ‘The Colour King’. the early colourist, Alfred Wolmark, the so-called father of the ‘Whitechapel Boys’. This group includes painters David Bomberg, Mark Gertler and Jacob Kramer, as well as (by association) the sculptor Jacob Epstein, First World War poet-painter, Isaac Rosenberg, and the only ‘Whitechapel Girl’ Clare Winsten, all of whom made a distinct contribution to early British modernism. This work presages the portrait works of later British jewish artists R.B Kitaj and Lucian Freud. His use of colour was so bright that in an exhibition of the International Society of Artists no English painter dared hang work next to his. His work was finally placed next to Van Gogh's, a matter of considerable pride to the artist in later years. Also exhibited at \"Manet and the Post Impressionists\" in 1910 at the Grafton Gallery. Wolmark, like Van Gough, are characterized by a bold application of paint, dominated by heavy impasto. In later years Wolmark met the sculptor Henri Gaudier-Brzeska and the two became close friends. Gaudier-Brzeska warmed to Woolmark's impassioned New Art and modelled a bronze bust of the young artist in 1913 and ended up celebrating the artists individuality in a face that strongly resembled Beethoven at the time.\u003c\/p\u003e\u003cp\u003eHe visited New York in 1919, soon after the end of the First World War, and his paintings of the city were exhibited at the Kervorkian Gallery there in 1919-20. A retrospective of his work was held at Ferens Art Gallery, Kingston upon Hull in 1975. A gifted portraitist, whose sitters included Thomas Hardy, Aldous Huxley and G. K. Chesterton, Wolmark was also active as a graphic designer, producing book illustrations and posters, as well as undertaking work on costume and stage designs for two Diaghilev ballets in 1911, a set of abstract designs for the stained glass windows of the church of St. Mary’s in Slough in 1915 and a selection of decorative pottery for an exhibition the following year. He was one of the prime movers in setting up the Ben Uri Art Society, 1915. His paintings are now in many galleries around the world, including the National Portrait Gallery, London, Sheffield and Derby Museum and Art Gallery. The Tate Gallery Archives hold two complete boxes donated by Wolmarks family which contain a number of letters, papers, artworks, photographs and press cuttings including his original diary containing who some of his works were sold to.\u003c\/p\u003e\u003cp\u003eChaim Weizmann (1874-1952) was a Zionist leader and Israeli statesman who served as President of the Zionist Organization and later as the first President of Israel. He was elected on 16 February 1949, and served until his death in 1952. Weizmann convinced the United States government to recognize the newly formed state of Israel. Weizmann was also a biochemist who developed the acetone–butanol–ethanol fermentation process, which produces acetone through bacterial fermentation. His acetone production method was of great importance for the British war industry during World War I. He founded the Weizmann Institute of Science in Rehovot, Israel and was instrumental in the establishment of the Hebrew University of Jerusalem.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227887402,"sku":"a_12952502S1","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A849D02F9086463E8821F9B7655138CD_master.jpg?v=1780507344"},{"product_id":"expressionist-watercolor-landscape-painting-jewish-modernist","title":"Expressionist Watercolor Landscape Painting Jewish Modernist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 11.5, W: 15.5 IN\u003c\/p\u003e\u003cp\u003esigned and bears the artist's studio label verso.\u003c\/p\u003e\u003cp\u003eGenre: Impressionist Subject: Landscape Medium: watercolor Surface: paper Country: United States Dimensions: 11.5 X15.5\u003c\/p\u003e\u003cp\u003eJennings (Yehuda) Tofel (originally Idel Taflewicz or Taflowicz) (born 18 October 1891 in Tomaszów Mazowiecki, Poland, died 7 September 1959 in New York City), Jewish American painter, poet and essayist.\u003c\/p\u003e\u003cp\u003eHe was born in Tomaszów Mazowiecki (now in Poland) in a Jewish middle-class family as Idel Taflewicz (or Taflowicz). His father Jacob Josef Taflewicz\/Taflowicz (b. 1864) was a woman dress’s tailor in Tomaszów Mazowiecki and had his own workshop in home. Jennings’s mother was Alta Haya née Berliner (d. 1899).\u003c\/p\u003e\u003cp\u003eAfter the death of Idel’s mother (1899), his father replaced with the family to Łódź and after some months he returned to the native town Tomaszów Mazowiecki. Idel as a 10-year boy had been injured and a month later his father noted his son’s “raised shoulder”. In his fall, a bone had been fractured, and Idel would have a deformed body for the rest of his life. In 1905 Jacob Josef Taflewicz immigrated with the family to New York, where they were reunited with other relatives. In New York Idel Taflewicz received the English name Isadore Tofel. Later he changed it into Jennings Tofel, though the Jewish name Yehuda (= Yiddish Idel) was also used. In New York the artistic talent of young Tofel was recognized, and he entered the Townsend Harris Hall Preparatory School. In 1917 he as Jennings Tofel was represented in a group exhibition at the Whitney Studio called “Introspective Art” (together with Claude Buck, Abraham Harriton, Benjamin Kopman). His first one-man exhibition came in 1919 at the Bourgeoisie Galleries. That same year, and for the next several years, he was represented in several group exhibitions in the North East, with artists such as Oscar Bluemner, Gaston Lachaise, and Joseph Stella. In 1925, Tofel left for Europe to further his art studies in France, Italy and Germany, especially in Paris and Berlin. He returned in 1928 to New York. In 1929 Jennings Tofel received a new grant and made his second artistic journey in Europe. While visiting his native city of Tomaszów Mazowiecki, he met his relative, Sura Perla Wajsberg (later Pearl Tofel in U.S.A.), and after a few days of courtship quickly got married. Jennings and Pearl Tofels returned to New York where they never had a permanent address. In 1931 he had a one-man exhibition at the SPR Gallery, New York and in 1932 the Whitney Museum of American Art purchased “Hagar”. He was also represented in prestigious group exhibitions at the Jewish Museum in New York and the Butler Institute of American Art in Youngstown, Ohio.\u003c\/p\u003e\u003cp\u003eTofel was a friend of Georgia O'Keefe and Alfred Stieglitz.\u003c\/p\u003e\u003cp\u003eIn the last years of his life (1950–1959), Jennings Tofel exhibited at two-year intervals at the Artist’s Gallery. His later years were a time of uninterrupted work. Adventures, confrontations and victories appeared in his art. His color became more fluid and contrasting than ever\u003c\/p\u003e\u003cp\u003eRetrospective exhibitions and publications A retrospective exhibition was held at the Zabriskie Gallery in New York in 1964, and Tofel’s art was represented in the Art Dealers Association of America’s 2nd Annual Show at the Park Bernet Galleries. In 1976 Arthur Granick, a close personal friend and patron of Jennings Tofel, compiled a beautiful volume which contains 63 colorplates and 129 black-and-white illustrations, including Jennings Tofel’s photographs.\u003c\/p\u003e\u003cp\u003eSources M. Baigell, Jewish Art in America: An Introduction, Plymouth 2006, pp. XIX, XXIV, 30-32, 46, 79, 118, 122, 125-126, 128, 235, 239-240, 242, 244, 246, 249; Samantha Baskind, Encyclopedia of Jewish American Artists, Greenwood Press 2006, p. 281; Arthur Granick, Jennings Tofel, introduction by Alfred Werner, New York 1976, passim (phot.; illustrations); J. R. Hayes, Jennings Tofel: The Human Form, [in:] T. Fountain (ed.), Jennings Tofel, Mahwah, New Jersey 1984, pp. 8–30; Jerzy Malinowski, Malarstwo i rzeźba Żydów polskich w XIX i XX wieku [Painting and sculpture of the Polish Jews in the 19th and 20th century], Warszawa 2000, pp. 151, 164-5, 178; Krzysztof Tomasz Witczak, Słownik Biograficzny Żydów tomaszowskich The Biographical Dictionary of the Jews from Tomaszów Mazowiecki, Łódź – Tomaszów Mazowiecki 2010, ISBN 978-83-7525-358-0, pp. 245–247 (Jennings Tofel's biographical note; phot.). J. Zilczer, Artist and Patron: The formation of the Hirshhorn Museum's Willem de Kooning collection, “Journal of the History of Collections”.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628227952938,"sku":"a_12952512S1","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_F366A4A3BEBE490EBB9647A1E966EDF3_master_a1eda4c5-c589-4b36-a716-16fcaeab9089.jpg?v=1780507346"},{"product_id":"mod-1970s-israeli-judaica-foil-print-12-tribes-of-israel-zodiac-signs-hebrew","title":"Mod 1970s Israeli Judaica Foil Print 12 Tribes of Israel Zodiac Signs Hebrew","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 30.5, W: 21.5 IN\u003c\/p\u003e\u003cp\u003eGenre: Israeli Subject: Biblical Medium: Print Surface: Paper Dimensions w\/Frame: 30 1\/2\" x 21 1\/2\"\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229067050,"sku":"a_12959492S1","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_034EDF3714AB4FF4953B31FAB61102FC_master.jpg?v=1780507355"},{"product_id":"judaica-modernist-oil-painting-know-thyself-israeli-kibbutz-pioneer-prophet","title":"Judaica Modernist Oil Painting 'Know Thyself' Israeli Kibbutz Pioneer, Prophet","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 22.0, W: 28.0 IN\u003c\/p\u003e\u003cp\u003eMortimer Borne, Printmaker, painter, sculptor, and educator was born in Rypin, Poland in 1902 and emigrated to the US in 1916. He studied at the National Academy of Design, The Art Students League, The Beaux-Arts Institute of Design, and with Charles Webster Hawthorne, founder of the Cape Cod School of Art in Provincetown. Painted in a thick impasto style similar in technique to Samuel Rothbort and David Burliuk. Borne himself taught at The New School for Social Research in New York City from 1945-1967.\u003c\/p\u003e\u003cp\u003eFrom the 1920s through the 40s he was a prolific producer of New York City cityscapes and genre scenes.\u003c\/p\u003e\u003cp\u003eIn later decades, he adopted a more modernist style apparently influenced by Picasso, producing color drypoints of abstracted figures.\u003c\/p\u003e\u003cp\u003eHis works were widely exhibited in museums in the U.S. and abroad from 1931 and later, including the Art Institute of Chicago, the American Institute of Graphic Arts, Museum of Modern Art, Metropolitan Museum of Art, Corcoran Gallery of Art, New York Public Library, Carnegie Institute, and Royal Society of Painters, Etchers and Engravers in London.\u003c\/p\u003e\u003cp\u003eHe taught at The New School for Social Research in New York City from 1945-1967, and at the Tappan Zee Art Center, which he established in Nyack, New York after moving there.\u003c\/p\u003e\u003cp\u003eBorne was a member of the Society of American Graphic Artists.\u003c\/p\u003e\u003cp\u003eHis prints are the subject of the book Borne: Drypoints, Etchings, Color Drypoints by R.S. Biran Borne was the inventor of the color drypoint technique. He worked in oil, drypoint, and sculpture.\u003c\/p\u003e\u003cp\u003eMortimer Borne's work is in the permanent collections of many museums, but his largest holding is at the Metropolitan Museum of Art which has over a hundred images. Mortimer and his wife,\u003c\/p\u003e\u003cp\u003eRay, lived in Nyack, New York, for fifty years.\u003c\/p\u003e\u003cp\u003eSelected Collections: British Museum, London Victoria and Albert Museum, London National Gallery, Washington Israel Museum, Jerusalem Museum of Modern Art Philadelphia Museum of Art\u003c\/p\u003e\u003cp\u003eThe Brooklyn Museum, New York. The Metropolitan Museum of Art The Museum of Modern Art The Smithsonian Institution Harvard University Museum\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229198122,"sku":"a_12967312S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_7EC2E66956FB44169080340936D297BB_master_46566f96-cef6-4078-9e96-e6bbca8f5037.jpg?v=1780507358"},{"product_id":"hungarian-rabbi-judaica-oil-painting-hasidic-rabbi-with-shtreimel","title":"Hungarian Rabbi Judaica Oil Painting Hasidic Rabbi with Shtreimel","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 24.0, W: 20.0 IN\u003c\/p\u003e\u003cp\u003e20th century Jewish Chassidic Rabbi with fur hat portrait, Judaica Oil Painting\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628229984554,"sku":"a_12967342S1","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A6BB2022948142969F6EDF7325692D13_master_81d0b85c-d09e-44ef-aa6a-cbc2d2d1b020.jpg?v=1780507362"},{"product_id":"abstract-with-figures-israeli-mid-century-modernist-woodcut-watercolor-painting","title":"Abstract with Figures Israeli Mid Century Modernist Woodcut Watercolor Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 34.0, W: 22.0 IN\u003c\/p\u003e\u003cp\u003eAn abstracted composition containing a kneeling figure . this is a stamped print, woodcblock most likely artfully combined with moody watercolor.\u003c\/p\u003e\u003cp\u003eStefan Alexander, born Czechoslovakia. In World War II sent to forced labour camps. 1945-49 Member of Czech Academy of Arts. 1952 Settled in Safed and participated in permanent exhibition there. Education 1928-34 Academy of Fine Arts, Prague 1934-36 Advanced studies, Paris 1936-38 Advanced studies, Italy and Yugoslavia Awards And Prizes 1965 Nordau Prize for Art 1934 Academy of Fine Arts, Prague, First prize\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231393578,"sku":"a_12980232S1","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_A31226FC940448DDA8302D8133F8EE98_master_1614dc8e-6753-4990-97d0-66d1a8c3aa0a.jpg?v=1780507374"},{"product_id":"large-venezuelan-jewish-modernist-lithograph-menorah-judaica","title":"Large Venezuelan Jewish Modernist Lithograph Menorah Judaica","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 21.75, W: 29.75 IN\u003c\/p\u003e\u003cp\u003eMarius Sznajderman was a painter, printmaker and scenic designer living and working in the United States.\u003c\/p\u003e\u003cp\u003eBorn in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe.\u003c\/p\u003e\u003cp\u003eHe helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz, Alirio Oramas, Dora Hersen, Alejandro Otero, Jesús Rafael Soto, Pascual Navarro, Aimée Battistini, José Fernández Díaz, Narciso Debourg, Oswaldo Vigas and Perán Erminy. Sznajderman’s early works as a student and young artist showed the influence of Cubism and Expressionism with subject matter ranging from figures to still life to Venezuelan landscapes. His work often explored Latin American themes, art and architecture. In 1948 Sznajderman was awarded the art student’s prize for a watercolor in the annual National Gallery exhibit. In 1949 Sznajderman had a solo exhibition at the Taller Libre de Arte. The exhibit catalogue was written by Sergio Antillano, a prominent Venezuelan writer and critic. That same year, Sznajderman immigrated to the United States to attend Columbia University, where he studied with scenic designer J. Woodman Thompson and printmaker Hans Alexander Mueller. He received a Bachelor of Science degree with a major in scenic design in 1953, after which he was drafted into the U.S. Army. In the military he worked as an artist-illustrator, completing his service in 1955. He returned to Columbia on the G.I Bill to attend Teachers College, where he received a Master of Fine Arts in art education. During the 1950s Sznajderman created set designs for Circle in the Square Theatre, the French Art Theatre and the Felix Fibish Dance Company, all in New York. By the late 1950s, however, his focus was shifting to fine arts and teaching. In 1960 Sznajderman was among the three founders, along with painters Sam Weinik and Ben Wilson, of the Modern Artists Guild (MAG), an association of modern artists working in northern New Jersey. Among the artists who were early members of MAG were Esther Rosen, Alexandra Merker, Erna Weill, Jerry Goldman, Lillian Marzell and Evelyn Wilson. In the 1950s, 1960s and 1970s, in addition to painting and printmaking, Sznajderman taught art, art history and design at a number of institutions including New York University, the School of Visual Arts, Fairleigh Dickinson University and the Ridgewood (N.J.) School of Art. He also taught art in New Jersey public schools under federal and state grants. During this period, Sznajderman’s work ranged from drawings, woodcuts and lithographs to watercolor and acrylic paintings and collages. He produced still life, figures, landscapes and seascapes. Inspirations included Venezuelan remembrances, culture and folklore; Mexican art and pre-Columbian imagery; as well as architecture and theater. Other works have been inspired by Greek mythology and the Commedia dell’arte. Contemporary events, such as the Vietnam War and the assassination of the Rev. Martin Luther King, Jr., also inspired some works. From 1974 to 1983 Sznajderman served as director of Galeria Venezuela in New York City for the National Council of Culture and Fine Arts of Venezuela (CONAC) while continuing to paint and exhibit. From 1980 to 1986 he oversaw the selection and coordination of the international editions of prints for AGPA (Actualidad Grafica – Panamericana), a project of the Latin American Container Corporation of America (later Smurfit Carton de Venezuela). Throughout his career, Sznajderman has also explored Jewish themes, including works in remembrance of the Holocaust. In 1988 he produced a limited-edition print, in collaboration with his uncle, the Yiddish journalist and author S.L. Shneiderman, on the occasion of Shneiderman’s 80th birthday. The print featured a 1938 poem by Shneiderman, “Elegy for My Shtetl,” written in Yiddish. The Yiddish text for the print was typeset using the last linotype machine used to print the New York-based Yiddish newspaper, The Forward. In 1989 he designed and supervised the production of a Holocaust memorial monument for Temple Beth El in Hackensack, New Jersey. Other works have explored Nazi concentration and extermination camps, the Vichy government and the Holocaust in France. For many years Sznajderman had a deep friendship and intimate creative relationship with Venezuelan painter Oswaldo Vigas. In 1987, following a trip of the two families to the Venezuelan Andes, a two-person show of landscapes by Sznajderman and Vigas was held at the venerable Ateneo de Caracas, Galeria los Espacios Calidos. In 1991 the Contemporary Art Museum of Caracas produced a retrospective exhibit of Sznajderman’s work. In 2001 Sznajderman began a collages and collage constructions series using Yiddish as a leitmotif. A selection of the works were exhibited at the Yiddish Book Center, Amherst, Massachusetts in 2005-2006. In 2005, Venezuelan poet Hugo Brett Figueroa published the book \"Scargot\" with illustrations by Sznajderman. Sznajderman also illustrated the 1993 book “Who Were the Pre-Columbians?” by Bernard Barken Kaufman and “Magicismos,” a book of poems by the Venezuelan poet Enrique Hernandez D’Jesus, published in 1989. In 2007, Warsaw Ghetto Revolt mural project and a Nazi concentration camp woodcut series created in 1958 and 1959, was exhibited at the Puffin Cultural Forum in Teaneck, New Jersey.[8] In 2011 and 2012 he produced the “Yanaka” series of collages on paper and a large collage construction using Chiyogami - traditional Japanese printed paper - purchased in 1990 in Tokyo. In 2011 Sznajderman created seven collages using unauthorized lithographs by Salvador Dali as material. The collages were reproduced in a limited-edition booklet titled “Dali, Dumas and Me.” The booklet described a series of events involving the late painter and printmaker Jorge Dumas, who had printed the Dali lithographs. The booklet was presented in 2013 during a solo exhibit by Sznajderman in New York City at Chashama Exhibit Space. More recently, Sznajderman created a series of print-collages composed from early serigraphs produced in the 1960s. He continued to work and exhibit until the final weeks of his life. Permanent Collections and Exhibitions Sznajderman's work is represented in the permanent collections of more than 45 museums and institutions, primarily in the United States but also in Europe, Latin America and Israel. They include the Smithsonian Institution, the Library of Congress, Instituto Nacional de Bellas Artes y Literatura in Mexico City, Museo de Bellas Artes (Caracas), the Museum of Jewish Heritage in New York, the Cincinnati Art Museum, the Simon Wiesenthal Center, the Birmingham Civil Rights Institute, the Irish Museum of Modern Art in Dublin and Yad Vashem in Jerusalem.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628231786794,"sku":"a_12986472S1","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_AAB02A9968A842A5AEDD28973C573207_master_33228661-5bc1-4af0-81f0-5156731359de.jpg?v=1780507383"},{"product_id":"modernist-israeli-judaica-mixed-media-painting-rabbis-walking-in-jerusalem","title":"Modernist Israeli Judaica Mixed Media Painting Rabbis Walking In Jerusalem","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 22.0, W: 17.75 IN\u003c\/p\u003e\u003cp\u003eMoshe Katz (Romanian Israeli), 1937- an Israeli citizen, studied art at the Bezalel Academy of Art in Jerusalem, as well as at the Chicago Academy of Fine Arts.\u003c\/p\u003e\u003cp\u003eAlthough not an exponent of one dominating technique of painting, Moshe has been fascinated in recent months with the textures and expressions he is able to obtain with the pallette knife.\u003c\/p\u003e\u003cp\u003ePicasso, Cezanne and Gaugin are his idols, and the power of Mexican art has a deep fascination for him. With elements of Folk Art combined with a sophisticated technique. He enjoys working in clay but finds painting in oil his greatest outlet for the stories he has to tell through his pictures. In addition to an outstanding collection of books featuring the works of the great masters, his shelves are lined with texts about hypnosis. Studying about the art of hypnotizing provides him with a mental exercise far removed from his highly developed art of expressing himself on canvas. He has exhibited with the Painters and Sculptors Association in Israel, Haifa and the North along with artists: Yaacov Agam, Sela (Blaustein), Emanuel\u003c\/p\u003e\u003cp\u003ePinhassi,\u003c\/p\u003e\u003cp\u003ePasternak, Anna, Chaltiel, Joseph\u003c\/p\u003e\u003cp\u003eSchwartz, Nira\u003c\/p\u003e\u003cp\u003eShemer, Aviva,\u003c\/p\u003e\u003cp\u003eFadel, Mohamed\u003c\/p\u003e\u003cp\u003eBishara, Sana,\u003c\/p\u003e\u003cp\u003eMenashe Kadishman, Menashe\u003c\/p\u003e\u003cp\u003eShalhevet, Yitzchak Frumin, Moshe\u003c\/p\u003e\u003cp\u003eRosen, Maureen\u003c\/p\u003e\u003cp\u003eMoshe was born March 2, 1937 in Bucherest, Romania with his parents, he fled from the Nazis and after stops in many countries, reached Israel. His paintings have been displayed by Arts International in galleries across the country since the fall of 1965. He received second prize in the Israeli Group Artist Show in Halfa in 1959.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628232474922,"sku":"a_13001642S1","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_53A316E0D88A499FA5263528EADB1112_master_c10ca1cc-4ac1-44e4-b45e-223182d55fb0.jpg?v=1780507392"},{"product_id":"jerusalem-tower-of-david-sabra-israeli-british-modernist-impasto-oil-painting","title":"Jerusalem Tower of David, Sabra, Israeli British Modernist Impasto Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 17.25 IN\u003c\/p\u003e\u003cp\u003eEarly modernist Israeli Judaica painting, by British mid-century artist. Israel Old City of Jerusalem scene.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628232835370,"sku":"a_13001652S1","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_E1537310B6E94EFEBAC4480CD6F4CF88_master.jpg?v=1780507394"},{"product_id":"the-talmudists-post-soviet-non-conformist-avant-garde-judaica-lithograph","title":"The Talmudists Post Soviet Non Conformist Avant Garde Judaica Lithograph","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 18.5, W: 14.5 IN\u003c\/p\u003e\u003cp\u003eDimensions w\/Frame: 18.5 X 14.5\u003c\/p\u003e\u003cp\u003eAlek Rapoport (November 24, 1933, Kharkiv, Ukraine SSR – February 4, 1997, San Francisco) was a Russian Nonconformist artist, art theorist and teacher. Alek Rapoport spent his childhood in Kiev (Ukraine SSR). During Stalin's \"purges\" both his parents were arrested. His father was shot and his mother spent ten years in a Siberian labor camp. Rapoport lived with his aunt. At the beginning of World War II, he was evacuated to the city of Ufa (the Bashkir Autonomous Soviet Socialist Republic). A time of extreme loneliness, cold, hunger and deprivation, this period also marked the beginning of Rapoport's drawing studies. After the war, Rapoport lived in Chernovtsy (Western Ukraine), a city with a certain European flair. At the local House of Folk Arts, he found his first art teacher, E.Sagaidachny (1886–1961), a former member of the nonconformist artist groups Union of the Youth (Soyuz Molodyozhi) and Donkey's Tail, popular during the 1910s–1920s. His other art teacher was I. Beklemisheva (1903–1988). Impressed by Rapoport's talent, she later (1950) organized his move to Leningrad, where he entered the famous V.Serov School of Art (the former School of the Imperial Society for the Promotion of Arts, OPKh, later the Tavricheskaya Art School). His association with this school lasted eight years, first as a student, and then, from 1965 to 1968, as a teacher. With \"Socialist realism\" the only official style during this time, most of the art school's faculty had to conceal any prior involvement in non-conformist art movements. Ya.K.Shablovsky, V.M.Sudakov, A.A.Gromov introduced their students to Constructivism only through clandestine means. (1959–1963) Rapoport studied stage design at the Leningrad Institute of Theater, Music and Cinema under the supervision of the famous artist and stage director N.P.Akimov. Akimov taught a unique course based on theories of Russian Suprematism and Constructivism, while encouraging his graduate students to apply their knowledge to every field of art design. Despite differences in personal artistic taste with Akimov, who was drawn to Vermeer and Dalí, Rapoport was influenced by Akimov's personality and liberalism, as well as the logical style of his art. In 1963, Rapoport graduated from the institute. His highly acclaimed MFA work involved the stage and costume design for I.Babel's play Sunset. In preparation, he traveled to the southwest regions of the Soviet Union, where he accumulated many objects of Judaic iconography from former ghettos, disappearing synagogues and old cemeteries. He wandered Odessa in search of Babel's characters and the atmosphere of his books.\u003c\/p\u003e\u003cp\u003eHe organized a new liberal course in technical aesthetics, introducing his students to Lotman's theory of semiotics, the Modulor of Le Corbusier, the Bauhaus school, Russian Constructivism, Russian icons and contemporary Western art. As a result of his \"radicalism,\" Rapoport was fired for \"ideological conspiracy.\"\u003c\/p\u003e\u003cp\u003eHe sought to cultivate himself as Jewish artist. This became particularly noticeable after the Six-Day War, when the Israeli victory led intellectuals, including the Jewish intelligentsia, to feel a heightened interest in Jewish culture and its Biblical roots. Rapoport's works of this period include Three Figures, a series of images of Talmudic Scholars, and works dealing with anti-Semitism. In the 1970s Rapoport joined the non-conformist movement, which opposed the dogmas of \"Socialist realism\" in art, along with Soviet censorship. The movement sought to preserve the traditions of Russian iconography and the Constructivist\/Suprematist style of the 1910s. Despite the authorities' persecutions of nonconformist artists (including arrests, forced evictions, terminations of employment, and various forms of routine hassling), they united in a group, \"TEV – Fellowship of Experimental Exhibitions.\" TEV's exhibitions proved tremendously successful. In the same period, Rapoport became one of the initiators of another anti-establishment group, ALEF (Union of Leningrad's Jewish Artists). In the United States this group was known as \"Twelve from the Soviet Underground.\" Rapoport's involvement with this group increased tension with the authorities and attracted KGB scrutiny, including \"friendly conversations,\" surveillance, detentions and house arrests. It became increasingly dangerous for him to live and work in the USSR. In October 1976, Rapoport with his wife and son were forced to leave Russia. In Italy, Rapoport exhibited at the Venice Biennale, \"La Nuova Arte Sovietica-Una prospettiva non-ufficiale\" (1977), participated in television programs about nonconformist art in the Soviet Union, and created lithographic works continuing his theme of Jewish characters from Babel's play Sunset. In 1977, Rapoport's family was granted U.S. immigration status and settled in San Francisco. a significant event in Rapoport's life occurred in his meeting with San Francisco gallery owner Michael Dunev, who became his friend and representative, organizing all his exhibitions until the artist's death. Toward the end of the 1980s and beginning of the 1990s, Rapoport completed his most ambitious works on the theme of the Old Testament prophets: Samson Destroying the House of the Philistines (1989), Lamentation and Mourning and Woe (1990), the four paintings Angel and Prophets (1990–1991) and Three Deeds of Moses (1992). In 1992, the artist's friends in St. Petersburg organized the first exhibition of his works there since his departure into exile, with works patiently gathered from collectors and art museums. This exhibition, held in the City Museum of St. Petersburg and accompanied by headlines such as \"A St. Petersburg artist returns to his town,\" was followed by much larger ones in 1993 (St. Petersburg and Moscow), organized in collaboration with Michael Dunev Gallery under the name California Branches – Russian Roots.\u003c\/p\u003e\u003cp\u003eHe Exhibited in \"Soviet Artists, Jewish Themes,\" an exhibit of Nonconformist art of over 40 Jewish artists from the Soviet Union.\u003c\/p\u003e\u003cp\u003eThe variety of Jewish themes range from rural, village scenes to images of the Holocaust, to mystical interpretations based on Kabbalistic texts by artists such as Grisha Bruskin, Anatolii Kaplan, Vitaly Komar, Alexander Melamid, Leonid Lamm, Dmitrii Lion, and Alek Rapoport. The exhibit focused on the work of Jewish artist in times of social oppression and were created in private, and were mostly kept hidden from the public eye.\u003c\/p\u003e\u003cp\u003eMain personal exhibitions\u003c\/p\u003e\u003cp\u003e1980 – Gallerie \"Trifalco,\" Rome, Italy 1981 – Images of San Francisco, Eduard Nakhamkin Gallery, New York, NY. 1984 – Images of San Francisco, University of the Pacific Gallery, Stockton, CA. 1986 – Images of San Francisco, Michael Dunev Gallery, San Francisco, CA. 1988 – Ecumenical Works, Michael Dunev Gallery, San Francisco, CA. 1992 – Russia-USA, The Museum of the City of St. Petersburg, St. Petersburg, Russia. 1993 – California Branches-Russian Roots, Manege Exhibition Hall, St. Petersburg, Russia; National Exhibition Hall, Moscow, Russia. 1996 – Ecumenical Paintings, SOMAR Gallery, San Francisco, CA. 1997 – The Last Paintings: A Memorial Exhibition, Michael Dunev Gallery, San Francisco, CA; The Early Drawings. A Memorial Exhibition. George Krevsky Fine Art, San Francisco, CA; Sacred Inspiration: Icons by Alek Rapoport, The Marian Library, IMRI, Dayton University, Dayton, OH.[14] 1998 – Angel and Prophet, Center for Art and Religion, Washington, DC. 2004 – Images of San Francisco, Diaghilev Art Center, St. Petersburg, Russia. 2007 – Alek Rapoport: A Memorial Exhibition, Belcher Studios Gallery, San Francisco, CA.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628232900906,"sku":"a_13001682S1","price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_CCD94CF62D8F40029A72E1EF72F73DDC_master_0a808d88-1851-4c83-b77f-8523af66dc42.jpg?v=1780507396"},{"product_id":"preacher-rabbi-der-maggid-judaica-oil-painting-wpa-jewish-artist-maurice-kish","title":"Preacher Rabbi Der Maggid Judaica Oil Painting WPA Jewish artist Maurice Kish","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 21.75, W: 18.0 IN\u003c\/p\u003e\u003cp\u003eGenre: Modern Subject: Hasidic Rabbi preaching in Synagogue Medium: Oil Surface: Board, size includes artist decorated frame\u003c\/p\u003e\u003cp\u003eCountry: United States Hand signed lower right and titled verso\u003c\/p\u003e\u003cp\u003eThe imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York.\u003c\/p\u003e\u003cp\u003eBorn Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist.\u003c\/p\u003e\u003cp\u003eKish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else.\u003c\/p\u003e\u003cp\u003eFor years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass factory where he painted floral designs on vases. During the Depression, Kish became a WPA painter in the Federal Art Project (FAP). FAP artists were given a mandate to create works that celebrated labor. The artists tended to be socially progressive, as Kish certainly was. Kish's work from this period, with its dark colors and rolling clouds, reveals the influence of Social Realists like Thomas Hart Benton. Apparent, too, is Kish's interest in the urban monumentality of Charles Sheeler. Kish's structures, however, lack Sheeler's almost dehumanized precision. Rather than the soulless, sleek machines of a typical modern urban dystopia, Kish's factories are shaggy old beasts as worn out as the laborers who troop through their doors. In End of Day's Toil, now at the Smithsonian, the viewer feels some affection for that rambly grandfather of a building all the tired small workers are leaving behind.\u003c\/p\u003e\u003cp\u003eMuch of Kish's work, for the FAP and elsewhere, undermines received truths in a similar way. Some early works with themes from Yiddish culture are overtly humorous: a painting of a big jolly wedding guest, looking invitingly over her shoulder; a Rabbi,\u003c\/p\u003e\u003cp\u003ea big fiddler on a small roof. Later, the humor becomes more ironic and reflective. In another work, the rather imposing organ grinder of the late 1930s looms above a child, yet his intermediary the cockatoo is bright and appealing, and offers the girl a fortune with his beak. This could read as an allegory for capitalism as easily as a straightforward colorful street scene. A small painting of a snowy day in Washington Square gives a bird's eye view of people bent against the wind walking alone or in pairs. The huge triumphal arch at the middle of it has no connection to their movements or their lives. Kish makes its size and centrality a quiet joke about the futility of grandiose gestures. Like the buildings in his FAP works, the arch has a personality. It is a landmark that looks a bit lost.\u003c\/p\u003e\u003cp\u003eA favorite location for Kish was Coney Island. For the laborers of the city, this was a place of great freedom and possibility. There were no bosses! Anyone could go to ride the rides and swim in the sea. For Kish, Coney Island, and especially Luna Park, became a place richly symbolic of workers’ rights. For the dreamlike paintings he set there, Kish looked past the Social Realists to the Expressionists. His colors are brilliant and his lines are wild. These images, joyfully unrestrained, give full voice to an anarchic vision merely hinted at in other works. If the structures of the earlier pictures came further out of the background than expected, these Coney Island structures completely take over the scene.\u003c\/p\u003e\u003cp\u003eKish made several variations on the theme of the carousel as a site of revolution. In the moonlight, the horses have broken from their poles and spin away from the calm center. The workers have come to manic life, have released themselves from the yoke of labor and have abandoned their master, the merry-go-round. They escape to different corners of the pleasure park, dance together and ride the ferris wheel. One horse pretends to be a ticket seller. It is another allegory, one that depicts a worker's holiday paradise in carnival fashion.\u003c\/p\u003e\u003cp\u003eA painter who embraced ambiguity, Kish was himself a man who occupied many worlds simultaneously. Even during the period when he had shows at prestigious galleries and belonged to several artists' groups, he identified most strongly as an outsider, a Yiddischer. He wrote poetry in Yiddish throughout his life. In 1968, he published a volume of fifty years of these poems, Di Velt ist Mayn Lid (The World is My Song) in Yiddish, with no English translation, for his peers. Kish also translated English-language poetry into Yiddish and acted as a guide to help other Yiddish writers. Long after the art organizations ceased to provide meaning and fulfillment, Kish was a devoted member of the Yiddish Culture Association.\u003c\/p\u003e\u003cp\u003eIn addition to painting and poetry, Kish was a dancer who taught during the summers at various Jewish resorts in the Catskills. Small but lithe, he also spent some years as an amateur boxer. Well into his eighties, Kish was proud of the quality of his handball game.\u003c\/p\u003e\u003cp\u003eBy the 1940s, Kish’s career was going well, but his descriptive style of working began to fall out of fashion, supplanted by a more formal Abstraction. Kish was never able to support himself solely through his art, yet in the midst of all of his other activities, Kish continued to create his distinctive images of an immigrant's New York. He departed far from the mainstream, and in later years, seldom showed his work, preferring to keep it for himself (although he sometimes traded paintings for rent).\u003c\/p\u003e\u003cp\u003eOf making art, Kish said, \"It is a sacred mission to enrich, to elevate and to make our lives more complete.\" His works, though frequently playful, encourage a second look at ordinary things. His irreverence elevates by revealing flaws where his audience, all workers and outsiders of a kind, can get a purchase. Kish's art fondly celebrates the beauty of the irregular.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233294122,"sku":"a_13019062S1","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B775BF643E754CCCB5591CF2EFE19E5F_master_185b2e73-0991-4092-b2bb-8667558db1d0.jpg?v=1780507402"},{"product_id":"modernist-daniel-in-lions-den-biblical-judaica-etching-israeli-artist","title":"Modernist Daniel in Lions Den Biblical Judaica Etching Israeli Artist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 17.5, W: 13.5 IN\u003c\/p\u003e\u003cp\u003eDaniel In Lions Den. Artist proof etching. it depicts a rabbi wrapped in a tallit surrounded by lions. A very well executed work of a famous miracle from the bible. it appears to bee unsigned. it is marked AP.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233326890,"sku":"a_13019072S1","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_BA96246E55974A3AA653840A7B14BEF3_master_44bd2d71-af7c-409c-9736-b91795308e21.jpg?v=1780507403"},{"product_id":"chassidic-rabbi-with-shtreimel-rare-judaica-oil-painting-signed-in-hebrew","title":"Chassidic Rabbi with Shtreimel, Rare Judaica Oil Painting Signed in Hebrew","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 16.25, W: 18.0 IN\u003c\/p\u003e\u003cp\u003eRare Judaica Art. Jewish genre scene. In the tradition of Moritz Oppenheim, Isidor Kauffman and Maurycy Gottlieb and later of Tully Filmus, Zalman Kleinman and Itshak Holtz the artist captures this Jewish Hasidic rabbi with a particular sensitivity.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233425194,"sku":"a_13019112S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9A439086C6164D2A838089D08BF22A99_master_5700065b-f92e-45a4-b6dc-cab20e9b05c7.jpg?v=1780507407"},{"product_id":"rare-israeli-surrealist-judaica-abstract-lithograph-naftali-bezem","title":"Rare Israeli Surrealist Judaica Abstract Lithograph Naftali Bezem","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.75, W: 26.0 IN\u003c\/p\u003e\u003cp\u003eFine lithograph on deckle edged French Arches paper. Pencil signed and numbered from edition of 150. A Surrealist Judaica scene of a bearded man (Rabbi) in a boat with Shabbat candlesticks. with blindstamp from Editions Empreinte in Paris, France. (They published, Jean Michel Folon, Sempe, Raoul Ubac, Raymond Savignac, Cesar, Bengt Lindstrom , Paul Aizpiri and many other modern masters.\u003c\/p\u003e\u003cp\u003eNaftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor.\u003c\/p\u003e\u003cp\u003eBezem was born in Essen, Germany, in 1924. His early adolescence was spent under Nazi oppression, in constant fear for the safety of his parents, who perished in the Holocaust in the Polish Auschwitz concentration camp. Naftali emigrated to Mandate Palestine in 1939, at the age of fourteen with a Youth Aliyah group. From 1943 to 1946, he studied art at the Bezalel Academy of Art and Design in Jerusalem with Israeli painter Mordecai Ardon. He then spent three years studying in Paris.His most famous public works include a wall relief at Yad Vashem in Jerusalem and the ceiling mural in the main reception room at the President's Residence, Jerusalem.In 1957, Bezem was a co-recipient of the Dizengoff Prize for Painting.\u003c\/p\u003e\u003cp\u003eGroup Exhibitions Orit Art Gallery, Tel Aviv Artists: Yosef Zaritsky, Marcel Janco, Lea Nikel, Robert Baser, Bezem, Michael Druks,\u003c\/p\u003e\u003cp\u003eIsraeli Painting (Watercolors and Gouache)\u003c\/p\u003e\u003cp\u003eArtists: Pinchas Abramovich, Bezem, Naftali\u003c\/p\u003e\u003cp\u003eNachum Gutman, Haim Gliksberg, Mordechai Levanon, Avigdor Stematsky, Avshalom Okashi, Yehiel Krize, Yehezkel\u003c\/p\u003e\u003cp\u003eStreichman\u003c\/p\u003e\u003cp\u003eSolo Exhibitions 1959 Bezalel Academy of Arts and Design, Jerusalem 1960 Tel Aviv Art Museum, Tel Aviv 1977The Rose Art Museum, Boston 1959 The Bezalel National Museum, Jerusalem 1964Museum for Modern Art, Haifa 1970Mabat - Art Gallery, Tel Aviv 1971Jerusalem Artists' House, Jerusalem 1979 Rosenfeld Gallery (1952-2009), Tel Aviv 1983 Inauguration of Tapestry Beit Hasofer, Tel Aviv 1984 Sara Kishon Gallery, Tel Aviv 2000 Open Museum, Tefen 2003 Matsa Gallery, Ramat Gan\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628233556266,"sku":"a_13025392S1","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_8E582D3E50FD4B0D9E460B6EEBA250A4_master_bd36b5dd-1334-46c9-bc5e-ba9d8196d764.jpg?v=1780507412"},{"product_id":"modernist-judaica-oil-painting-old-jew-jewish-rabbi-at-prayer","title":"Modernist Judaica Oil Painting \"Old Jew\" Jewish Rabbi at Prayer","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.0, W: 12.75 IN\u003c\/p\u003e\u003cp\u003eAn oil on board Judaic painting by modern artist Ben-Zion Weinman. It depicts a portrait in profile of an old Jew. The work is signed \"Ben-Zion\".\u003c\/p\u003e\u003cp\u003eBorn in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.”\u003c\/p\u003e\u003cp\u003eAn emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name.\u003c\/p\u003e\u003cp\u003eBen-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolf Gottlieb, Louis Harris, Yanhkel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.”\u003c\/p\u003e\u003cp\u003eBy 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes.\u003c\/p\u003e\u003cp\u003eBen-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition.\u003c\/p\u003e\u003cp\u003e“Ben-Zion has his hands on the pulse of the common man and his natural world”\u003c\/p\u003e\u003cp\u003eAs he emerged as an artist Ben-Zion never lost his gift for presenting the ordinary in ways that are vital, fresh and filled with emotions that are somber and exhilarating, joyous and thoughtful, and ultimately, filled with extraordinary poetic simplicity.\u003c\/p\u003e\u003cp\u003eBen-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. \"In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works.\" (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952).\u003c\/p\u003e\u003cp\u003eBen-Zion continued his style of representational painting based on the abstract, and is perhaps best known for his Biblical paintings and etchings.\u003c\/p\u003e\u003cp\u003eBen-Zion received an American Jewish Congress award.\u003c\/p\u003e\u003cp\u003eIn 1987, Ben-Zion died in his home in the Chelsea section of Manhattan. He was 90 years old.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628234637610,"sku":"a_13031352S1","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_91C643E3F8954ED39AFBE2E5C1DE331A_master.jpg?v=1780507423"},{"product_id":"modernist-watercolor-painting-portrait-of-a-man-judaica-rabbi","title":"Modernist Watercolor Painting, Portrait of a Man, Judaica Rabbi","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 12.25, W: 8.75 IN\u003c\/p\u003e\u003cp\u003eAbraham Walkowitz (March 28, 1878 - January 27, 1965) was an American painter grouped in with early American Modernists working in the Modernist style.\u003c\/p\u003e\u003cp\u003eWalkowitz was born in Tyumen, Siberia to Jewish parents. He emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design in New York City and the Académie Julian in Paris under Jean-Paul Laurens. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the 291 years, Walkowitz worked closely with Stieglitz as well as Arthur Dove, Marsden Hartley, and John Marin (often referred to as \"The Stieglitz Quartet\").\u003c\/p\u003e\u003cp\u003eEarly Career and Training Portrait of Abraham Walkowitz - 1907 - Max Weber - Brooklyn Museum Walkowitz was drawn to art from childhood. In a 1958 oral interview with Abram Lerner, he recalled: \"When I was a kid, about five years old, I used to draw with chalk, all over the floors and everything... I suppose it's in me. I remember myself as a little boy, of three or four, taking chalk and made drawings.\"[1] In early adulthood, he worked as a sign painter and began making sketches of immigrants in New York's Jewish ghetto where he lived with his mother. He continued to pursue his formal training, and with funds from a friend traveled to Europe in 1906 to attend the Académie Julian. Through introductions made by Max Weber, it was here that he met Isadora Duncan in Auguste Rodin's studio, the modern American dancer who had captured the attention of the avant-garde. Walkowitz went on to produce more than 5,000 drawings of Duncan.\u003c\/p\u003e\u003cp\u003eWalkowitz' approach to art during these years stemmed from European modernist ideas of abstraction, which were slowly infiltrating the American art psyche at the turn of the century. Like so many artists of the time, Walkowitz was profoundly influenced by the 1907 memorial exhibition of Cézanne's work in Paris at the Salon d'Automne. Artist Alfred Werner recalled that Walkowitz found Cézanne's pictures to be \"simple and intensely human experiences.\"[2] Working alongside other Stieglitz-supported American modernists, Walkowitz refined his style as an artist and produced various abstract works.\u003c\/p\u003e\u003cp\u003eWalkowitz first exhibited at the 291 in 1911 after being introduced to Stieglitz through Hartley, and stayed with the gallery until 1917. During the 291 years, the climate for modern art in America was harsh. Until the pivotal Armory Show of 1913 had occurred which Walkowitz was involved with and exhibited in, modern artists importing radical ideas from Europe were received with hostile criticism and a lack of patronage.\u003c\/p\u003e\u003cp\u003eIsadora Duncan Drawings In 1927, Isadora Duncan echoed the lines of Walt Whitman in her essay I See America Dancing, writing, \"When I read this poem of Whitman’s I Hear America Singing I, too, had a Vision: the Vision of America dancing a dance that would be the worthy expression of the song Walt heard when he heard America singing.\"[4] Duncan was the quintessence of modernism, shedding the rigid shackles of the balletic form and exploring movement through a combination of classical sculpture and her own inner sources. She described this search: \"I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the body’s movement.\" For Duncan, dance was a distinctly personal expression of beauty through movement, and she maintained that the ability to produce such movement was inherently contained within the body.\u003c\/p\u003e\u003cp\u003eAbraham Walkowitz was one of many artists captivated by this new form of movement. The Duncan drawings can be interpreted as representations of Walkowitz’s loftiest goals. Composing thousands of these drawings would prove to be one of the most effective outlets for his artistic agenda due to the similarities between the artistic ideals and preferred aesthetic shared by Walkowitz and Duncan. He was also able to draw from the same subject repeatedly and extract a different experience with each observation. Sculptors most readily recognized this trait in Duncan; there was a particular quality of her dance which appeared readily artistic, yet not static. Dance critic Walter Terry described it in 1963 as, \"Although her dance inarguably sprang from her inner sources and resources of motor power and emotional drive, the overt aspects of her dance were clearly colored by Greek art and the sculptor’s concept of the body in arrested gesture promising further action. These influences may be seen clearly in photographs of her and in the art works she inspired.\"\u003c\/p\u003e\u003cp\u003eIsadora Duncan #29, c. 1915 In each drawing, a new observation is recorded from the same subject. In the Foreword to A Demonstration of Objective, Abstract, and Non-Objective Art, Walkowitz wrote in 1913, \"I do not avoid objectivity nor seek subjectivity, but try to find an equivalent for whatever is the effect of my relation to a thing, or to a part of a thing, or to an afterthought of it. I am seeking to attune my art to what I feel to be the keynote of an experience.\" The relaxed fluidity of his action drawings represent Duncan as subject, but ultimately reconceive the unbound movement of her dance and translates the ideas into line and shape, ending with a completely new composition.\u003c\/p\u003e\u003cp\u003eHis interest in recording the \"keynote\" of experience rather than producing an objective representation of a subject is central to the composition of the Duncan drawings. The fluidity of the lines function simultaneously as recognizable shapes of the human body, but also trace the pathways of the dancer’s movements. Duncan herself wrote in 1920, \"...there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.\"[4] Placed into a different context, this passage could function as a description of Walkowitz’s art; it is in fact taken from her essay The Philosopher’s Stone of Dancing wherein she discusses techniques to most effectively express the purest form of movement.\u003c\/p\u003e\u003cp\u003eWalkowitz’s dedication to Duncan as a subject extended well past her untimely death in 1927. The works reveal shared convictions toward modernism and breaking links with the past. In 1958, Walkowitz told Lerner, \"She (Duncan) had no laws. She did not dance according to the rules. She created. Her body was music. It was a body electric, like Walt Whitman. His body electrics. One of our greatest men, America's greatest, is Walt Whitman. Leaves of Grass is to me the Bible.\"\u003c\/p\u003e\u003cp\u003eSignificance in Art History While never attaining the same level of fame as his contemporaries, Walkowitz' close relationship with the 291 Gallery and Alfred Stieglitz placed him at the center of the modernist movement. His early abstract cityscapes and collection of over 5,000 drawings of Isadora Duncan also remain significant art historical records.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628235292970,"sku":"a_13050812S1","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_0607F6BE170F4D069A7CDA3AB12B8F0B_master_8a4b9b88-8abd-4346-8dab-cc93b79ec6b4.jpg?v=1780507436"},{"product_id":"judaica-etching-passover-seder-scene-wpa-artist","title":"Judaica Etching Passover Seder Scene WPA Artist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 11.0, W: 13.0 IN\u003c\/p\u003e\u003cp\u003ePhilip Reisman, a Social Realist painter and printmaker known for his views of New York City street life. Fourteen of Mr. Reisman's etchings of New York life were in the show Works on Paper at the Museum of the City of New York. His work is also represented in the collections of the Metropolitan Museum\u003c\/p\u003e\u003cp\u003eof Art in Manhattan, the Hirshhorn Museum in Washington and the Wadsworth Atheneum in Hartford, among others. A three-month exhibition of Mr. Reisman's work from the 1960's and 1970's appeared at the Museum of the City of New York. The artist was elected an Academician at the National Academy of Design. A book about him, \"Philip Reisman: People Are His Passion,\" by Dr. Martin H. Bush, was published in 1987 by Wichita State University. Mr. Reisman was born in Warsaw in 1904, and came to New York with his family at the age of 4. He studied at the Art Students League in the 1920's, and had his first solo show at the Painters and Sculptors Gallery in New York City in 1931. Later in the 1930's, he worked as a painter and muralist on the Federal Art Project of the WPA, Works Progress Administration, the Government-sponsored effort to create work for artists during the Depression. For many years, Mr. Reisman exhibited at the ACA Gallery in Manhattan, along with other social commentators, including Jack Levine, Robert Gwathmey, Philip Evergood and William Gropper. He also taught art classes at his studio and at the Educational Alliance.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628235718954,"sku":"a_13050822S1","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_61BD37D27EA84A63BBEA8070EB96EF4E_master.jpg?v=1780507438"},{"product_id":"lithuanian-french-ecole-de-paris-judaica-oil-painting-refugee-family","title":"Lithuanian French Ecole de Paris Judaica Oil Painting Refugee Family","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 29.0, W: 19.0 IN\u003c\/p\u003e\u003cp\u003eExpressionist Realistic portrait of a Jewish refugee family World War II era by Lithuanian French Jewish artist. Here the artist conveys a sense of quiet grandeur through the eyes of his subject and the way it's rendered. Part of a distinguished European lineage of Jewish genre artists who depicted judaic scenes sensitively and with a sense of quiet dignity. Lazar Krestin, Isidor Kaufmann, Itshak Holtz, Tully Filmus and more.\u003c\/p\u003e\u003cp\u003eJacques or Jacob Koslowsky ( Pakuonis, Lithuania, 1904 - Palma de Mallorca, Spain, 1993 ) is an American painter of Lithuanian origin. Jacques Koslowsky was born in Pakuonis, a village some twenty kilometers south of Kaunas. Lithuania belonged then to the Russian Empire.\u003c\/p\u003e\u003cp\u003eIn 1924 his father accepted his departure for Florence to undertake medical studies. He attends anatomy classes and devotes the rest of his time to painting. The following year he was admitted to the Academy of Fine Arts in Florence where he was trained by Felice Carena. He spends some time in Tel Aviv, in then British Mandatory Palestine, where he practices painting and art criticism. He moved to Paris to the Latin Quarter, rue Monge. He is known as Jacques Koslowsky, easier to remember than his Lithuanian name, Jokūbas Kazlauskas. He graduated from the\u003c\/p\u003e\u003cp\u003eL'Ecole Nationale des Beaux Arts\u003c\/p\u003e\u003cp\u003ein 1932. He then occupied a studio in the Montparnasse district , rue d'Arsonval. In 1927 , he exhibited for the first time two of his works at the Salon d'Automne . In 1930 , he became a permanent member of the Salon des Indépendants society. In mid- June 1940 before the German advance, he decided to leave France. He crosses the borderto Spain on August 22 , 1940 and embarked August 26 , 1940 in Lisbon for the United States. Little appreciative of the city of New York, he finds his inspiration in museums. He paints for the galleries Burrel, Rembrandt and Glezer. He was granted American citizenship in 1946. He returned to France in 1947, finding his studio intact. He exhibits again at the Salon des Indépendants and the Salon d'Automne, but sells mainly in the United States. Two of his works previously exhibited at the Salon des Indépendants entered in 1952 the French National Collections. In 1964, he discovers the island of Mallorca . Enchanted by his climate and his landscapes, he moved there, first temporarily to Deià , then finally to Bunyola.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628236570922,"sku":"a_13058382S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_1FFA49AD748949B093B07E4CE2525B41_master_45cfdbdb-4a82-49b5-8e48-9903658ff66e.jpg?v=1780507447"},{"product_id":"judaica-the-rebbe-european-hasidic-rabbi-oil-painting","title":"Judaica \"The Rebbe'\" European Hasidic Rabbi Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 26.75, W: 22.75 IN\u003c\/p\u003e\u003cp\u003eRealistic portrait of an older rabbi visiting and blessing a child in a European marketplace. Here the artist conveys a sense of quiet grandeur through the eyes of his subject and the way it's rendered. following a distinguished European lineage of Jewish genre artists who depicted judaic scenes sensitively and with a sense of quiet dignity. Lazar Krestin, Isidor Kaufmann, Itshak Holtz, Tully Filmus and more.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628236767530,"sku":"a_13067992S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_BB78D8FCFF7742AEAA20432E2A0D3E0B_master_8df433c7-47c1-4ac0-9cae-626e46b5b7e9.jpg?v=1780507455"},{"product_id":"rare-judaica-holocaust-memorial-menorah-bronze-sculpture","title":"RARE Judaica Holocaust Memorial Menorah Bronze Sculpture","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 11.75, W: 10.75, D: 13.75 IN\u003c\/p\u003e\u003cp\u003eMoshe Oved\u003c\/p\u003e\u003cp\u003e(aka Edward Good) was a Polish-British, jeweler, artist, sculptor and Yiddish author and founder of the antique jewelry shop Cameo Corner. He left his native Poland for England in 1903 and settled in London’s East End, where he initially worked as a watchmaker. He was a founding member of the Ben Uri Society and a great supporter of Yiddish culture, holding an honorary office within Ben Uri from 1915–56 and always maintaining that its main goal should be to collect pictures and open a gallery. The collection in these years was influenced by his taste as he helped to fund and facilitate the acquisition of a number of important early works by artists including Simeon Solomon, Jacob Kramer, David Bomberg and Samuel Hirszenberg. Oved was a great character, who presided over Cameo Corner in Museum Street in flowing purple robes regaling his customers – among whom Queen Mary was a regular – with well-honed anecdotes – and building a reputation as a recognized authority on cameos, antique watches and clocks. Anecdotal evidence suggests that in 1933 Oved sold the Mosaic Faberge Egg to King George V for £250 pounds, possibly as a gift for Queen Mary’s birthday.\u003c\/p\u003e\u003cp\u003eOved’s first book in Yiddish, Aroys fun Khaos (Out of Chaos, 1918), was followed by Lebns Lider (1924). In Visions and Jewels (1925), a collection of 124 autobiographical stories and short tales, he wrote about Nahum Sokolow, Max Nordau, Sholem Asch and Jacob Epstein, who all came to speak at Ben Uri, among many others. The Book of Affinity (1933) was a deluxe production with original colour lithographs by Epstein; Oved also presented two busts by Epstein, and to the Ben Uri, both in 1947. According to one story, it was while sheltering in the basement of Cameo Corner during the Blitz, that Oved first began modelling animal design rings to steady his trembling hands. He took up sculpting at the end of the war in his sixties and created a series of small bronze heads and a number of candelabra to commemorate the victims of the Holocaust. Mosheh Oyved (there are variant spellings of his name)\u003c\/p\u003e\u003cp\u003eHe designed his own extremely original jewellery, and sculpted a series of Jewish ritual objects He was also a writer and poet. He was very interested in sculpture, produced several busts himself, and also collected the work of his friend Jacob Epstein. He helped the Ben Uri to purchase several significant works of art, and presented three busts by Epstein to the Society in 1946.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628237685034,"sku":"a_13082952S1","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_7A42B3487B8744EE9D77B4BF208E7698_master_f1e2e05f-5696-4fe5-aebe-466e88874784.jpg?v=1780507463"},{"product_id":"judaica-polish-israeli-folk-art-biblical-modernist-oil-painting","title":"Judaica Polish Israeli Folk Art Biblical Modernist Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 26.5, W: 19.25 IN\u003c\/p\u003e\u003cp\u003eThis painting is iconic of Pichas Shaar's aesthetic, and stylistic influences. A ceramic mosaicist and sculptor as well as a painter, Shaars strong decorative sense was evident in his colorful canvas, with their frequent rectilinear geometry, depicting stylized figures, often mythological or biblical subjects.\u003c\/p\u003e\u003cp\u003ePinchas Shaar (born Szwarc, later Shaar) was born in Lodz, Poland in 1923. already at a young age he drew small graffiti and characters of fairy tales. at sixteeen he met the Polish painter Wladyslaw Strzeminski, a disciple of the Russian painter Kazimir Malevich, who encouraged Pinchas’ artistic education. Strzeminski encouraged Pinchas' artistic education and introduced him to the works of such painters as Picasso, Leger, Matisse, and Mondrian. Pinchas had his first exhibition in 1938 and also completed photomontages for a poetry book by Moshe Broderson that was published in 1939. Then, in September 1939, Nazi Germany invaded Poland. On February 1940 the Jews of Lodz had to move to a ghetto and perform forced labor. The artist experienced the horrors of war and the Nazi holocaust concentration camps. Pinchas worked in a prefabricated furniture factory. However, after his artistic abilities were discovered, he became a draftsman. He also designed decorations for the ghetto's theater. In 1944 the Germans liquidated the Lodz ghetto and deported its inhabitants to concentration camps. Pinchas, his brothers and his father were sent to Sachsenhausen. After his liberation by the Soviet Army in 1945, Pinchas was fortunate to reunite with his parents and his two brothers. Unfortunately Pinchas' sister and her child perished in a Nazi camp. After the war, he spent a few years in Munich Germany, where he painted stage sets. In 1951 he returned to Israel. In 1974, he decided to go live in Paris, France In Paris, he studied at the Grande Chaumière and the Ecole des Beaux-Arts. It is in Paris that he begins to paint the little fantastic folk art characters of his Jewish childhood. His work reads like poetry. Indeed, the artist gives great importance to writing that can be both graphics and thought. There is in the artist a certain spontaneity, a true freedom of expression. His paintings are like stories in which little fairy figures move, such as queens of Sheba, prophets, magi, or animals belonging to a fabulous bestiary. Pinchas Shaar reveals the meanders of his consciousness and gives us an imaginary universe that sometimes refers to Jewish folklore. The work of Pinchas Shaar is comparable to an inner world, tinged with both humor and sadness. But unlike the German Expressionists, Pinchas Shaar does not paint the \"horror\". The anxiety of the artist is rather of the order of metaphysics. His work is in many museums and galleries and was included in the show Israel - Entre Reve et Realite at the Musée Juif de Belgique, Brussels, Belgium along with Bergner, Yosl\u003c\/p\u003e\u003cp\u003ePann, Abel, Rubin, Reuven, Tumarkin, Igael\u003c\/p\u003e\u003cp\u003eLilien, Ephraim Moses\u003c\/p\u003e\u003cp\u003eAgam, Yaacov, Pins, Jacob\u003c\/p\u003e\u003cp\u003eKadishman, Menashe amongst others.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628237750570,"sku":"a_13090232S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B6232D22C33A40109F8EF7CFF31D3C36_master_8bd6b551-c761-43bd-8cea-d1508a5bac74.jpg?v=1780507465"},{"product_id":"jewish-klezmer-musicians-israeli-judaica-impasto-palette-knife-oil-painting","title":"Jewish Klezmer Musicians, Israeli Judaica Impasto Palette Knife Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 31.5, W: 27.5 IN\u003c\/p\u003e\u003cp\u003eRaoul Raymond was born in Bucharest, Romania in 1948 and he immigrated to Israel two years later.\u003c\/p\u003e\u003cp\u003eIn Israel, Mr. Raymond grew fond of the artist's palette, and at an early age, was guided by Israeli artist Ton Bernhard.\u003c\/p\u003e\u003cp\u003eMr. Raymond studied at the Lyceum og Graphis in Tel Aviv, and in 1965 continued his studies at the Academie des Beaux Arts in Paris.\u003c\/p\u003e\u003cp\u003eHe returned to Israel in 1967 and entered the military service, taking part in the Six Day War.\u003c\/p\u003e\u003cp\u003eRaoul Raymond has taken part in many group shows, both in Israel and abroad, notably in Europe. He paints in an impressionistic style, capturing characteristic Israeli scenes in his warm, vibrant colors.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628238111018,"sku":"a_13090242S1","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_66EAC551B64146428764575D9E78F276_master.jpg?v=1780507467"},{"product_id":"mixed-media-sculptural-painting-unicorn-chicago-jewish-modernist","title":"Mixed Media Sculptural Painting \"Unicorn\" Chicago Jewish Modernist","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 28.75, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eGenre: Modern Subject: Abstract Medium: Mixed Media Surface: Board Dimensions: 28.75 X 24 (size includes frame. signed with initials and bearing a label verso.\u003c\/p\u003e\u003cp\u003eReminiscent of the Art Brut work of french master Jean Dubuffet this Boy with balls is a wonderful mixed media piece with stypol, copper resin, concrete all in a great colorful composition.\u003c\/p\u003e\u003cp\u003eAlexander Raymond Katz, Hungarian \/ American (1895 – 1974)\u003c\/p\u003e\u003cp\u003eAlexander Raymond Katz was born in Kassa, Hungary, and came to the United States in 1909. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Arts. In the late 1920s, he worked as a director of the Poster Department at Paramount Studios. He was appointed the Director of Posters for the Chicago Civic Opera in 1930.\u003c\/p\u003e\u003cp\u003eDuring the Great Depression, notable architect Frank Lloyd Wright urged Katz to become a muralist. In 1933, he was commissioned to paint a mural for the Century of Progress exposition in Chicago. In 1936, he painted the mural History of the Immigrant for the Madison, Ill., post office. Katz’s works were included in various exhibitions and now are part of several museum collections, including those of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C.; and the Jewish Museum, New York. His murals, bas-reliefs and stained glass designs adorn more than 200 Jewish synagogues in the United States.\u003c\/p\u003e\u003cp\u003eKatz and other Jewish artists in Chicago who expressed Jewish and Biblical themes were inspired by the artist Abel Pann (1883-1963). Pann, who is regarded as the leading painter of the Land of Israel, exhibited in the Art Institute of Chicago in 1920.\u003c\/p\u003e\u003cp\u003eEarly in his career, Katz began to explore the artistic possibilities inherent in the characters of the Hebrew alphabet. He developed aesthetic and philosophical interpretations of each letter and became the leading innovator and pioneer in the field of Hebraic art.\u003c\/p\u003e\u003cp\u003eKatz applies this concept in the woodcut Moses and the Burning Bush. Hebrew letters appears in Moses’ head, his cane and inside the flame. The initial of Moses’ name crowns his head. The letter in the flame is the first letter of the name of God. A combination of images and Hebrew letters appeared commonly in illustrations of the scene Moses and the Burning Bush in the Haggadah, the book of Passover.\u003c\/p\u003e\u003cp\u003eThe symbolism of the burning bush corresponds to the motifs of A Gift to Biro-Bidjan. The miracle of the burning bush occurred in the desert when Moses led the Jews from Egypt to the Holy Land. The flame represents tribulation, and the survival of the bush represents eternity. The Jewish people endured persecution and pogroms on their final destination to the Promised Land.\u003c\/p\u003e\u003cp\u003eKatz uses the white silhouette method of woodcut production to enhance the miraculous atmosphere. In complete darkness, the pattern of the flame is repeated throughout the composition — in the sky, the desert dunes and even in Moses’ gown. This approach resembles Munch’s The Scream (1893), where the sound waves echo in the entire image, or Abraham Weiner’s Milk and Honey, where the shape of the rake is replicated throughout the composition.\u003c\/p\u003e\u003cp\u003eAmong his positions in Chicago was serving on the art staff of the \"Chicagoan Magazine\" and creating posters for the Chicago Civic Opera. He also created posters for the Century of Progress exhibitions, 1933 to 1934.\u003c\/p\u003e\u003cp\u003eKatz received much acclaim for his murals at the Century of Progress World's Fair and for other WPA projects during the 1930s. His murals are at the Butler Institute of American Art; the Evansville, Indiana Museum' Madison Illinois Post Office and the Oak Park Illinois Jewish Temple.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628238143786,"sku":"a_13090252S1","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_75210DF4754F454AB709F1B48FEEE6E9_master_4e0fb692-a0d8-4207-b6a6-c954bbbacdaf.jpg?v=1780507469"},{"product_id":"israeli-judaica-old-jewish-woman-sewing-expressionist-oil-painting","title":"Israeli Judaica Old Jewish Woman Sewing Expressionist Oil Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 32.5, W: 24.5 IN\u003c\/p\u003e\u003cp\u003eAdolf Adler 1917 - 1996 Adolf Adi Adler was born in Romania in 1917. Attended the Art College of Kluj Romania in 1950. (in Satu Mare, original home city of the Satmar Hasidic group). In 1963, Adler was chief among a group of well known artists who immigrated to Israel. He was awarded the Nordau prize in 1978. He works have been auctioned at Sloan's Auction House in Maryland and Karrenbauer Auction House in Germany and today are represented in the Yad Vashem Holocaust Museum in Jerusalem. In 1984, a retrospective of his work was held in Rishon Le Zion. He died in 1996.\u003c\/p\u003e\u003cp\u003eAwards and Prizes 1993 Mordecai Ish-Shalom Prize, Artists House, Jerusalem, for a Special Contribution to Art\u003c\/p\u003e\u003cp\u003eArtists in Israel for the Defense Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Aviva Uri, Ephraim-Marcus, Käthe\u003c\/p\u003e\u003cp\u003eAvraham Binder, Motke Blum (Mordechai)\u003c\/p\u003e\u003cp\u003eYosl Bergner, Izzika Gaon, Anatol Gurewitsch, Nahum Gilboa, Jean David, Marcel Janco, Ben Zion Magal, Lea Nikel, Avigdor StematskyYohanan Simon, Jacob Pins, Esther Peretz Arad, Dani Karavan, Reuven Rubin, Zvi Raphaeli\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628238209322,"sku":"a_13090262S1","price":2600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_3BD9444DFFE046EFB56B6A407C075D41_master.jpg?v=1780507471"},{"product_id":"oil-painting-the-rabbi-sensitive-judaica-portrait-by-italian-american-master","title":"Oil Painting \"The Rabbi\" Sensitive Judaica Portrait by Italian American master","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 34.0, W: 28.0 IN\u003c\/p\u003e\u003cp\u003eBorn in Milan, Italy Lupetti studied at the Royal Academy in Rome where he received classical training and was apprenticed to the school of restoration at the Vatican. At the age of fourteen he was accepted to attend Brera Liceo Artistico, one of the most prestigious art academies in Italy, graduating at age eighteen and then went on to win honors from the Royal Academy of Fine Arts in Rome eventually receiving the degree of Professor of Fine Arts. In Milan, he helped restore the famed La Scala Opera House, and in Rome he earned the right to help in the restoration of the Masters' Works in the Vatican's Sistine Chapel. Following service in WWII, Roberto came to America sponsored by the famous conductor Arturo Toscanini. A painting he did of the maestro was purchased by the San Francisco Art Commission.\u003c\/p\u003e\u003cp\u003eHe moved to San Francisco where he taught at the Art Institute. As well as decorating churches throughout the U.S., he also painted portraits of such celebrities as Ingrid Bergman, Barbara Stanwyck, and General George Marshall. Roberto Lupetti earned five degrees at the Royal Academy of Fine Arts. Roberto was married to fellow artist Lynn Lupetti.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628238995754,"sku":"a_13103822S1","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_5EC514073B9741D9A048CD8797F5B1C2_master_329b6598-4729-4e20-8669-0dee0adf6d7d.jpg?v=1780507472"},{"product_id":"assemblage-collage-painting-outsider-art-rabbis-studying-jerusalem","title":"Assemblage Collage Painting Outsider Art Rabbis Studying, Jerusalem","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 48.0, W: 24.0 IN\u003c\/p\u003e\u003cp\u003eBorn in New York, Paul Shimon (1919 - 2011) was both an accomplished artist and composer.\u003c\/p\u003e\u003cp\u003eConsidered by some to be an Early Outsider artist, Shimon studied at the Art Students League of New York and with W.A. Clark Prize recipient Jean Louis Liberte (1896 - 1965).\u003c\/p\u003e\u003cp\u003eA pioneer of abstract Judaica, the influence of his studies with Jean Louis Liberte together with that of his sephardic heritage is often apparent in Shimon’s artwork. Shimon was listed amongst the Who Was Who in American Art, the reference book of cultural life in the United States.\u003c\/p\u003e\u003cp\u003eExhibited:\u003c\/p\u003e\u003cp\u003eAudubon Artists, 1954\u003c\/p\u003e\u003cp\u003eMacdowell Alumni Show, 1971 Skylight Gallery, NYC, 1970s.\u003c\/p\u003e\u003cp\u003eAwards:\u003c\/p\u003e\u003cp\u003eEmily Lowe Watercolor Award, 1953\u003c\/p\u003e\u003cp\u003eMacdowell Colony fellowship, 1960.\u003c\/p\u003e\u003cp\u003eCollections: Butler Institute of American Art in Youngstown, Ohio.\u003c\/p\u003e\u003cp\u003ePrivate Collections\u003c\/p\u003e\u003cp\u003ePaul Shimon was an early member of the non-profit New York Artists Equity Association, an organization dedicated to advancing legislation to protect the legal rights of visual artists.\u003c\/p\u003e\u003cp\u003ePaul Shimon died at the age of 92.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628239651114,"sku":"a_13103842S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_4F963E5BD42D4937B03311E120525CC3_master_b16042ae-453f-409d-9a46-5ece335ef209.jpg?v=1780507474"},{"product_id":"israeli-modernist-watercolor-painting-safed-synagogue-interior-bezalel-school","title":"Israeli Modernist Watercolor Painting Safed Synagogue Interior Bezalel School","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 33.25, W: 25.5 IN\u003c\/p\u003e\u003cp\u003eWatercolor painting of Shul interior in Tzfas, Safed Israel.\u003c\/p\u003e\u003cp\u003eMORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon \u0026amp; Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work.\u003c\/p\u003e\u003cp\u003eHis works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi.\u003c\/p\u003e\u003cp\u003eEducation 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem\u003c\/p\u003e\u003cp\u003eSelected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem\u003c\/p\u003e\u003cp\u003eArtists: Dedi Ben Shaul, Lea Nikel, Yossef Zaritsky,Ephraim Fima Roytenberg, Zvi Meirovich, Aharon Kahana, Avigdor Stematsky, Mordechai Levanon, Yosl Bergner, Israel Paldi, Zvi Tolkovsky, Geula Dagan. 1960: Galerie Intime, Montréal 1959: Opening Show, Gallery Moos, Toronto (with Serge Poliakoff, Marc Chagall, Hans Erni and Paul-Émile Borduas) (1959 gallery invitation). 1959: Pulitzer Art Galleries, New York 1957: Chemerinsky Gallery, Tel Aviv 1956: Museum of Modern Art, Haifa 1955: Nora Gallery, Jerusalem 1954: Tel Aviv Museum, Tel Aviv 1954: National Museum, Washington 1953: Shore Gallery, Boston 1952: Katz Gallery, Tel Aviv 1941: Beit Pevsner, Haifa\u003c\/p\u003e\u003cp\u003eSelected collections: Haifa museum of Art Tel Aviv Museum Israel Museum, Jerusalem Boston Public Library Brooklyn Museum Fogg Art Museum, Cambridge Hartford Atheneum Metropolitan Museum of Art, New York Museum of Fine Arts, Boston Museum of Modern Art, New York Smithsonian Institution, Washington DC New York Public Library Philadelphia Museum of Art Baltimore Museum of Art Carnegie Institute of Fine Arts, Pittsburgh Fine Arts Museums of San Francisco\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628239749418,"sku":"a_13103862S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B3B1EC33E1244E629D0F63DA4C546101_master_8b0a8dd4-4e18-42a3-a26d-99144b2dba7e.jpg?v=1780507478"},{"product_id":"israeli-kibbutz-artist-judaica-shul-torah-ark-surrealist-gouache-painting","title":"Israeli Kibbutz Artist Judaica Shul Torah Ark Surrealist Gouache Painting","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 20.75, W: 29.5 IN\u003c\/p\u003e\u003cp\u003eLeo Roth (1914–2002), also known as Lior Roth, was an Israeli painter, born in 1914 in Austria-Hungary. (later Poland)\u003c\/p\u003e\u003cp\u003eIn 1920, Roth moved to Germany and, in 1933, immigrated to Palestine. He studied at the École des Beaux-Arts in Paris and completed frescoes in Italy and France in the 1950s. Roth first settled in Tel Aviv, then moved to Kvutzat Kinneret, then finally to Kibbutz Afikim where he remained until his death. He served as Director of the Art Academy of the Kibbutzim. In 1959, he was awarded the Jordan Valley Prize for Painting. Roth exhibited in the United States, Israel, Mexico, Spain, Holland, Sweden, and Denmark. He died in 2002.\u003c\/p\u003e\u003cp\u003eEducation:\u003c\/p\u003e\u003cp\u003e1930 School of Art, Duisberg-Hamborn, Germany, under Josef Doppelfeld Academy of Fine Arts, Hamburg, Germany\u003c\/p\u003e\u003cp\u003e1951 Fresco and mural painting, Ecole nationale superiere des Beaux-Arts, Paris, France 1951 fresco in Italy\u003c\/p\u003e\u003cp\u003eTeaching:\u003c\/p\u003e\u003cp\u003eDirector of Art Academy of the Kibbutzim\u003c\/p\u003e\u003cp\u003eRoth's work was influenced by Cubism and bears much in common with the work of compatriot painter Naftali Bezem. His colourful canvases contain biblical imagery and references to early Israeli pioneer culture.\u003c\/p\u003e\u003cp\u003eSelected Solo Exhibitions\u003c\/p\u003e\u003cp\u003e2015 Home, Montefiore Art Gallery, Tel Aviv 2009 Kibbutz Machanayim Art Gallery 2000 Retrospective, Museum of Art, Kibbutz Ein Harod 1997 Oil paintings, Kibbutz Machanayim Art Gallery 1993 Solo Exhibition, Beit Yad Lebanim, Tiberias 1983 Oil paintings, ''Bet-Emanuel'', Ramat Gan 1980 Wilfrid Israel Museum, Oriental Art and Studies, Kibbutz Hazorea 1977 Tiroche Gallery, Old Jaffa 1976 Hatzrif Art Gallery, Be'er Sheva 1957 Oil paintings, Tel Aviv Art Museum 1950 Katz Gallery, Tel AvivSelected exhibitions 2000: Chaim Atar Art Museum, Ein Harod, Israel: The Works of Leo Roth: An Exhibition\u003c\/p\u003e\u003cp\u003eSelected Group Exhibitions\u003c\/p\u003e\u003cp\u003e2014 Revelations, Jerusalem Print Workshop 2013 Group Exhibition, Yair Art Gallery, Tel Aviv 2008 The First Decade: Hegemony and Plurality, Ein Harod Art Museum\u003c\/p\u003e\u003cp\u003e2000 Group Exhibition, Hamishkan Le'omanut, Beth Meirov, Holon 1998 Where Have We Come from and Where Do We Go? Yad Labanim Museum, Petach-Tikva 1997 Yitzhak Sadeh and the Palmach - Painting and Sculpture, Petach Tikvah Museum of Art 1993 The Seam, Gallery of Art, Haifa University 1951, 1960, 1962 General Exhibition, Art in Isarel, Tel Aviv Art Museum 1958 Ten Years of Israeli Painting, Tel Aviv Art Museum 1952 Painting and Sculpture in Israel, An Exhibition arranged to the Museum's 20th Anniversary, Tel Aviv Art Museum 1944 Collective Annual Exhibition by Palestinian Artists, Habima Theater Art Gallery, Tel Aviv\u003c\/p\u003e\u003cp\u003eSelected Museum collections Israel Museum, Jerusalem Museum of Art Ein Harod, Israel Rockfeller art center, New York S.U.N.Y. (State University of New York, Fredonia) Students Center, Brooklyn College, New York Greater VICTORIA, British Columbia, Canada \"Jesode Hatora - Beth Jacob\", Anvers, Belgium Center Culturel d'Ekeren, Belgium Museo Nacional de Arte, La Paz, Bolivia Israel Museum, Jerusalem Ein Harod Art Museum, Israel \"Yad la'Banim\", Petah Tikva, Israel Tel Aviv Art Museum, Israel Beit Uri-Rami, Ashdot Ya'akov, Israel\u003c\/p\u003e\u003cp\u003e1944 Collective Annual Exhibition by Palestinian Artists Art Gallery of the ''Habima'' Building, Tel Aviv Artists: Hermann Struck, Aaron Priver, Itzhak Danziger, Zvi Aldouby, Menahem Shemi, Moshe Castel, Yohanan Simon, Pinchas Litvinovsky, Marcel Janco Nachum Gutman, Leo Roth.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628239782186,"sku":"a_13111092S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_26ADF24D657C47B18855F47BF505FB80_master_9446df3c-e366-4dc2-97a3-cc580ca9d100.jpg?v=1780507480"},{"product_id":"israeli-kibbutz-artist-toddler-swim-tube-pointilist-oil-painting-bezalel-school","title":"Israeli KIbbutz Artist Toddler, Swim Tube Pointilist Oil Painting Bezalel School","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 32.0, W: 26.75 IN\u003c\/p\u003e\u003cp\u003eBelarusian born Israeli artist. lived in germany studied at the Bezalel School.\u003c\/p\u003e\u003cp\u003eBezalel Academy of Arts and Design is Israel's national school of art. Established in 1906 by Jewish painter and sculptor Boris Schatz, Bezalel is Israel's oldest institution of higher education.\u003c\/p\u003e\u003cp\u003eThe \"Bezalel School of Art and Craft\" was founded in 1906 by Boris Schatz, who envisaged the creation of a national style of art blending classical Jewish\/Middle Eastern and European traditions. The school opened in rented premises on Ethiopia Street. It moved to a complex of buildings constructed in the 1880s surrounded by a crenelated stone wall, owned by a wealthy Arab. In 1907, the property was purchased for Boris Schatz by the Jewish National Fund. Schatz lived on the campus with his wife and children. Bezalel's first class consisted of 30 young art students from Europe who successfully passed the entrance exam. Eliezer Ben Yehuda was hired to teach Hebrew to the students, who hailed from various countries and had no common language.\u003c\/p\u003e\u003cp\u003eIn addition to traditional sculpture and painting, the school offered workshops that produced decorative art objects in silver, leather, wood, brass, and fabric. Many of the craftsmen were Yemenite Jewish silversmiths who had a long tradition of working in precious metals, as silver- and goldsmithing, which had been traditional Jewish occupations in Yemen. Yemenite immigrants were also frequent subjects of Bezalel artists. In 1912, Bezalel had one female student, Marousia (Miriam) Nissenholtz, who used the pseudonym Chad Gadya. Bezalel closed in 1929 in the wake of financial difficulties. After Hitler's rise to power, Bezalel's board of directors asked Josef Budko, who had fled Germany in 1933, to reopen it and serve as its director. The New Bezalel School for Arts and Crafts opened in 1935, attracting many teachers and students from Germany, many of them from the Bauhaus school shut down by the Nazis. Budko recruited Jakob Steinhardt and Mordecai Ardon to teach at the school, and both succeeded him as directors. In 1958, the first year that the prize was awarded to an organization, Bezalel won the Israel Prize for painting and sculpture. Bezalel Pavilion near Jaffa Gate Bezalel pavilion was a tin-plated wooden structure with a crenelated roof and tower built outside Jaffa Gate in 1912. It was a shop and showroom for Bezalel souvenirs. The pavilion was demolished by the British authorities six years later. Bezalel developed a distinctive style of art, known as the Bezalel school, which portrayed Biblical and Zionist subjects in a style influenced by the European jugendstil (art nouveau) and traditional Persian and Syrian art. The artists blended \"varied strands of surroundings, tradition and innovation,\" in paintings and craft objects that invokes \"biblical themes, Islamic design and European traditions,\" in their effort to \"carve out a distinctive style of Jewish art\" for the new nation they intended to build in the ancient Jewish homeland. Leading members of the school were Boris Schatz, Abel Pann, E. M. Lilien, Meir Gur-Aryeh, Zev Raban, Jacob Eisenberg, Jacob Steinhardt, Shmuel Ben David, Samuel Hirszenberg, and Hermann Struck.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628239814954,"sku":"a_13111102S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_B7EB50C5766D46FABB40F8E0D6F364A4_master_38bcf847-4af4-43d0-bc2d-3124a2e21c8e.jpg?v=1780507481"},{"product_id":"modernist-oil-painting-1940s-judaica-hasidic-rabbi-in-jerusalem","title":"Modernist Oil Painting 1940s, Judaica Hasidic Rabbi in Jerusalem","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 33.75, W: 27.75 IN\u003c\/p\u003e\u003cp\u003eGenre: Portrait Subject: Landscape Medium: Oil Surface: Board Country: United States\u003c\/p\u003e\u003cp\u003eEMANUEL ROMANO Rome, Italy, b. 1897, d. 1984 Emanuel Glicenstein Romano was born in Rome, September 23, 1897.\u003c\/p\u003e\u003cp\u003eHis father Henryk Glicenstein was a sculptor and was living in Rome with his wife Helena (born Hirszenberg) when Emanuel was born. His father obtained Italian citizenship and adopted the name Enrico. Emanuel was brought up in Italy, Switzerland, Germany, England and Poland.\u003c\/p\u003e\u003cp\u003eIn 1926 Emanuel and his father sailed for New York. They briefly visited Chicago. Romano's sister, Beatrice, and mother only joined them in New York years later.\u003c\/p\u003e\u003cp\u003eRomano changed his name on his arrival to America and some have erroneously speculated that this was to avoid antisemitic discrimination. In truth, as the son of a highly-regarded artist, Romano changed his name to ensure that any success or recognition he would later attain, would be the result of nothing other than his own merit as an artist, and not on account of his father's fame.\u003c\/p\u003e\u003cp\u003eIn 1936 Romano was worked for the Federal Art Project creating murals. During and immediately after World War II, Romano created a series of allegorical works depicting graphic holocaust images that were held closely by the family until after his passing. One of these works is now on permanent display in the Florida Holocaust Museum in St. Petersburg Florida.\u003c\/p\u003e\u003cp\u003eEmanuel's father died in 1942 in a car accident before they could realize their shared dream of visiting Israel.\u003c\/p\u003e\u003cp\u003eIn 1944 Romano, having completed his degree at the Pennsylvania Academy of Fine Arts and the Art Institute of Chicago, began teaching at the City College of New York.\u003c\/p\u003e\u003cp\u003eRomano moved to Safed, Israel in 1953 and established an art museum in his father's memory, the Glicentein Museum.\u003c\/p\u003e\u003cp\u003eCOLLECTIONS\u003c\/p\u003e\u003cp\u003eIndianapolis Museum of Art Metropolitan Museum of Art Boston Fine Arts Museum Fogg Museum Musée Nacional de France Recently his work has been added to the Florida Holocaust Museum collection. His notable works include his holocaust themed allegorical paintings as well as portraits of Marianne Moore, his father and William Carlos Williams. Romano created a well known portrait of T.S. Eliot as well as the woodcuts to illustrate an edition of Eliot's \"The Waste Land\".\u003c\/p\u003e\u003cp\u003eEmanuel Romano died in 1984.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628240437546,"sku":"a_13111112S1","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_9111E2312D9F4B9197D5705A21534501_master_5bd6a820-2e39-4af1-889c-be9c4088e767.jpg?v=1780507483"},{"product_id":"french-painted-maquette-for-sculpture-judaica-klezmer-musician","title":"French Painted Maquette for Sculpture Judaica Klezmer Musician","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 19.0, W: 11.0, D: 2.75 IN\u003c\/p\u003e\u003cp\u003eMane-Katz (1894-1962) maquette plaster relief for bronze sculpture. (it is made from sort of composite material and then painted or colored from the casting. there is no foundry\u003c\/p\u003e\u003cp\u003emark or info. it is signed Mane Katz verso but I do not know if it is the artist's hand.\u003c\/p\u003e\u003cp\u003eEmmanuel Mané-Katz (Hebrew:מאנה כץ), born Mane Leyzerovich Kats (1894–1962), was a Litvak painter born in Kremenchuk, Ukraine, best known for his depictions of the Jewish shtetl in Eastern Europe. Mane-Katz moved to Paris at the age of 19 to study art, although his father wanted him to be a rabbi. During the First World War he returned to Russia, at first working and exhibiting in Petrograd; following the October revolution, he traveled back to Kremenchuk, where he taught art. In 1921, due to the ongoing fighting in his hometown during the civil war, he moved once again to Paris. There he became friends with Pablo Picasso and other important artists, and was affiliated with the art movement known as the School of Paris; together with other outstanding Jewish artists of that milieu, he is sometimes considered to be part of a group referred to specifically as the Jewish School of Paris. Includes painters Jankel Adler, Arbit Blatas, Marc Chagall, Jacques Chapiro, Michel Kikoine, Pinchus Kremegne, Sigmund Menkees, Jules Pascin, Issachar Ryback, Jacques Lipchitz,Chana Orloff, and Ossip Zadkine. Ecole de Paris In 1931, Mane-Katz's painting The Wailing Wall was awarded a gold medal at the Paris World's Fair. Early on, his style was classical and somber, but his palette changed in later years to bright, primary colors, with an emphasis on Jewish themes. His oils feature Hassidic characters, rabbis, Jewish musicians, beggars, yeshiva students and scenes from the East European shtetl. Mane-Katz made his first trip to Mandate Palestine in 1928, and thereafter visited the country annually. He said his actual home was Paris, but his spiritual home was Eretz Yisrael, the Land of Israel. Mane-Katz left his paintings and extensive personal collection of Jewish ritual art to the city of Haifa, Israel. Four years before his death, the mayor of Haifa, Abba Hushi, provided him with a building on Mt. Carmel to house his work, which became the Mane-Katz Museum. The exhibit includes Mane-Katz's oils, showing a progressive change in style over the years, a signed portrait of the artist by Picasso dated 1932 and a large collection of Jewish ritual objects. In 1953, Mane-Katz donated eight of his paintings to the Glicenstein Museum in Safed, whose artists quarter attracted leading Israeli artists in the 1950s and 1960s, and housed some of the country's most important galleries.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628241387818,"sku":"a_13119162S1","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_D666F8960691453B9D4CDF260DEFDAED_master_d55419e1-1d7e-40ed-bb93-3558c0e43f74.jpg?v=1780507487"},{"product_id":"vintage-silver-gelatin-signed-print-old-jew-in-jerusalem-pious-craftsman","title":"Vintage Silver Gelatin Signed Print Old Jew in Jerusalem Pious Craftsman","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 24.5, W: 21.0 IN\u003c\/p\u003e\u003cp\u003eRare vintage signed and dated silver gelatin black \u0026amp; white framed photograph.\u003c\/p\u003e\u003cp\u003eThis photo is signed but I cannot make out the signature. It is from the aftermath of the six day war. Leonard Freed, Micha Bar Am, Henri Cartier-Bresson, David Rubinger and other important Magnum Photos photographers where there snapping photos. not sure who this is by but it is a beautiful piece\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628241715498,"sku":"a_13119202S1","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_C6B73D21FBCA43CFBB2D4F272FE42C4C_master.jpg?v=1780507496"},{"product_id":"judaica-silvered-copper-repousse-sculpture-relief-plaque-shtetl-yeshiva-bochur","title":"Judaica Silvered Copper Repousse Sculpture Relief Plaque Shtetl Yeshiva Bochur","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 9.0, W: 7.5 IN\u003c\/p\u003e\u003cp\u003eArieh Merzer was a prominent Israeli artist and metal worker.\u003c\/p\u003e\u003cp\u003eArie Merzer, an artist who worked in hand-hammered copper, was born in Warsaw, Poland in 1905, the scion of a large Hassidic family. He graduated from the Academy of Arts in Warsaw, and became the pupil of Professor Adam Richtarsky. He later worked with a group of Jewish artists who wanted to resuscitate the ancient oriental-Jewish craft of hand-hammering metal (metaloplastics), which was passed on to us as a legacy by far-off generations from the time of the Bible.\u003c\/p\u003e\u003cp\u003eIn 1928 Arieh Merzer exhibited his works in Warsaw for the first time. From 1930 he lived and worked in Paris. He was one of the Jewish artists who gathered there and were known as the Jewish 'Ecole de Paris.' Merzer regularly exhibited in the well-known 'Salon d'Automne' and 'Salon des Tuileries,' as well as in solo exhibitions in Paris and throughout France.\u003c\/p\u003e\u003cp\u003eArieh Merzer's work was highly acclaimed well before the Holocaust, before it became a memorial to a world destroyed. He portrayed the story of the Jewish spirit on copper, on silver, and on gold: stories from the Bible, the life-styles of the Jews in their shtetls and ghettos, of Chassidim and Kabbalists of renown, of wars of liberation and revival. A special stress was placed on the link between the new Jewish experience and its historical nucleus. His major innovation was the moulding of mystic and traditional Jewish motifs, that surrounded the Holy Ark in Europe's burning synagogues, and presenting the results before the world of modern art. As a result he became generally recognized as an international Jewish artist. In 1943, when France was conquered by the Nazis, Arieh Merzer escaped from a concentration camp, and after a stint in the maquis, he crossed the border into Switzerland and was sent to a labor camp. Later, he arrived in Geneva, where an album of sketches of his works was put out. In 1945 he made aliyah to Israel with his family, settled in Safed, and helped to found the Artists' Quarter there.\u003c\/p\u003e\u003cp\u003eArieh Merzer lived and worked in Israel for twenty-one years. His exhibitions in the country include: 1946 in the Tel Aviv Museum; 1947 in the Pevsner Artists' Pavilion in Haifa; 1951 in the Artists' Pavilion in Tel Aviv; 1955 in the Museum for Modern Art in Haifa; 1955 in the Artists' Pavilion in Jerusalem; and 1957 in the Tel Aviv Museum. His works were also on permanent show in his atelier in Safed. He was awarded prizes, including: the Herman Struck prize in 1946; the Dizengoff prize in 1951 and then again in 1965; and the Mayor of Haifa's prize in 1954. His works appear in numerous museums and collections throughout the country and abroad. His heart stopped beating on the eve of Holocaust Day, 1966.\u003c\/p\u003e\u003cp\u003eArieh Merzer, who was brought up in a Hassidic family, was drawn to the world of art from an early age; he was influenced by the moods and new ideals of the socialist circles and prepared himself to study art in the academy. On Passover eve , after clearing out the bread, while the rest of the household was busy preparing for the Holiday, a book fell from the bookcase and from out its pages flew dozens of sketches and drawings of nudes that the young Arieh had prepared for his folio for the entrance examinations to the academy. His sisters tore up the drawings with cries of treyfe treyfe (ritually non-kosher) and many months' hard work went down the drain. As a result of this, he left his home at the age of fifteen, and later joined a group of young artists who wanted to revive the ancient art of hand-hammered copper - metaloplastics - bequeathed to them by past generations who lived in Bible times. Thus did he part from his family - mother, father, thirteen brothers and sisters - who all perished in the Holocaust. He alone survived, and made an oath that he would commemorate in copper all who had died.\u003c\/p\u003e\u003cp\u003eExhibited: The ''Shtetl'' Yad Vashem Museum, Jerusalem, 1965\u003c\/p\u003e\u003cp\u003eArtists: Jankel Adler, Isidor Aschheim, Josef Budko, Samuel Hirszenberg, Arieh Merzer, Jeheskel Kirszenbaum and Jakob Steinhardt.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628241813802,"sku":"a_13134632S1","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_220497BA344E4431B26F107078BFB84F_master.jpg?v=1780507502"},{"product_id":"israeli-oil-painting-modernist-impressionist-candy-man-toy-chest","title":"Israeli Oil Painting Modernist Impressionist Candy Man Toy Chest","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 15.75, W: 12.75 IN\u003c\/p\u003e\u003cp\u003eMoshe Chauski (b. 1935)\u003c\/p\u003e\u003cp\u003eBorn in Lithuania, Chauski studied at the Vilna Art Academy.\u003c\/p\u003e\u003cp\u003ePost-graduate studies, Warsaw\u003c\/p\u003e\u003cp\u003eHe received the first prize for young artists in 1953.\u003c\/p\u003e\u003cp\u003eHe immigrated to Israel in 1959 and taught art and worked as portraitist for the daily newspaper Yediot Ahronot.\u003c\/p\u003e\u003cp\u003eFrom 1965 to 1995, he worked at the computer center of the Weizmann Institute of Science.\u003c\/p\u003e\u003cp\u003eHe has been exhibiting in solo and group exhibitions in Israel and abroad since 1968, including the Art Basel Fair.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628242272554,"sku":"a_13140122S1","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_DD1EED9B1CDE4556968BCA1736DD79A4_master_5624290e-a263-4dd8-a929-ad57e301d536.jpg?v=1780507505"},{"product_id":"abstract-procession-jewish-wedding-chuppah-oil-painting-modernist-judaica","title":"Abstract Procession Jewish Wedding Chuppah Oil Painting Modernist Judaica","description":"\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e H: 31.0, W: 25.0 IN\u003c\/p\u003e\u003cp\u003eGenre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States\u003c\/p\u003e\u003cp\u003eSabina Teichman: (1905-1983) Studied at Columbia Univ. (BA, MA), also with Charles J. Martin and Arthur J. Young.\u003c\/p\u003e\u003cp\u003eExhibits include WMAA, Art USA, 1958, PAAM, Butler Institute Amer. Art, Audubon Artists Ann., Womens Westchester Center.\u003c\/p\u003e\u003cp\u003eSabina Teichman's paintings have a touch of fauvist vitality and responsiveness and color. Her Lyrical Paintings convey the great joy of life which is hers. the joy is so profound that it cannot be obtained in traditional art forms and so it has become necessary for Sabina to create new forms to express the euphoria. As the dynamic colors emerge from her luxuriously coated brush, she surrenders to a newly realized adventure in abstract expressionism. A boldness belies he femininity which yields an exciting style and a joyful freshness. Sabina Teichman illuminates the canvas with strokes of color that affect the very soul of the viewer , for she feels that color inspires the inner being of man. Her response to color elation.\u003c\/p\u003e\u003cp\u003eDynamic colors emerge from the luxuriously coated brush of this artist, surrendering to her newly realized adventure in abstract impressionism. A boldness belies her femininity which yields an exciting style and a joyful freshness. Sabina Teichman illuminates the canvas with strokes of color that affect the very soul of the viewer, for she knows as did Goethe, that color inspires the inner being of man.\u003c\/p\u003e\u003cp\u003eSabina Teichman's own response to color is elation. Widely known as a figurative painter, one reviews her earlier style only to find that all shapes lived within the surrounding of abstract settings which now dominate her most recent paintings. The Vatican Museum's collection of contemporary art has acquired Sabina Teichman's painting The Prophet given in response to an expressed desire of a representative of Pope Paul VI, who said that, to the best of his knowledge, it was the first painting by a living American to become part of the Vatican. Member of Audubon Artists, Provincetown Art Association\u003c\/p\u003e\u003cp\u003eArgent Galleries, New York, 1947. Salpeter Gallery, New York, 1949, 1952, 1954. Shore Galleries, Boston, 1955. A C A Gallery, New York, 1957, 1960, 1963, 1969. A C A Gallery, Rome, 1965. Orpheus Ascending Gallery, Stockbridge, Mass., 1973. New York Cultural Center, 1975. Selected Museum Collections Baltimore Museum of Art Brooklyn Museum Butler Museum of American Art Carnegie Institute Fogg Museum, Harvard University National Museum of Israel Phoenix Art Museum San Francisco Museum of Art Smithsonian Institution Syracuse University Museum Tel Aviv Museum Vatican Museum, Rome Whitney Museum of American Art\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51628242698538,"sku":"a_13140202S1","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/4021\/3802\/files\/mobilejpegupload_7AA867DEDB2D4806B8A34B62BE62011E_master_51018ab5-4b8c-42d7-8ac7-d19051863673.jpg?v=1780507508"}],"url":"https:\/\/lionsgallery.com\/collections\/judaica-israeli-art.oembed","provider":"Lions Gallery","version":"1.0","type":"link"}