ISRAELI & INTERNATIONAL ART 30 JUNE 2009 KING DAVID HOTEL JERUSALEM Summer Auction

Israeli & International Art

King David Hotel Jerusalem

Tuesday 30 June 2009 8:00 PM AUCTION PREVIEW

Preview in Tel Aviv Heh B'iyar Street 68, Kikar Hamedina

Thursday, June 11-Friday, June 19, 2009

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Monday, June 22, 2009-Tuesday, June 30, 2009

Sun-Thu 11 am – 10 pm Fri 10 am-4 pm Sat nite 9:30 pm-12 am Tue June 30 (auction day) 11 am-2 pm

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Online auction: www.artfact.com Online catalogue: www.artonline.co.il

Auction 112, June 30, 2009 8 pm, King David Hotel, Jerusalem

According to the international trend, we have adjusted the buyer’s premium. Please see Conditions of Purchase. בס"ד ימי תצוגה

תערוכה מקדימה בתל אביב רח' ה' באייר 68, ככר המדינה

11 - 19 יוני 2009

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רח' דוד המלך 21, ירושלים

22 - 30 יוני 2009

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מכירה 112 30 יוני 2009 בשעה 20:00 מלון דוד המלך ירושלים

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MATSART AUCTIONEERS AND APPRAISERS 21 King David St. JERUSALEM 94101 ISRAEL Tel. (including sales room)+972-2-6251049 Fax : +972-2-6257779 1 v

Shmuel Charuvi 1897-1965 (Israeli)

Jerusalem Citadel, 1940s oil on canvas 55 x 68 cm (21 ½ x 26 ½ in) signed lower right

$8,000-12,000 2 3

Shmuel Charuvi Shmuel Charuvi 1897-1965 (Israeli) 1897-1965 (Israeli)

Lot including two works: Kinneret lanscape,1950 oil on canvas Rachel's Tomb 49 x 68 cm (19 x 26 ½ in) watercolor on paper signed and dated lower right 7 x 8 cm (2 ¾ x 3 in) $7,000-9,000 signed lower left in English and lower right in Hebrew Cyclamens watercolor on paper 17 x 11 cm (6 ½ x 4 ¼ cm) signed lower right

$1,500-1,800 4 v

Reuven Rubin 1893-1974 (Israeli)

Jerusalem watercolor and pencil on paper 37.20 x 41.50 cm (14 ½ x 16 ¼ in) signed and titled lower right

Provenance: Arthur Tooth & Sons Ltd., London (no. 7) Sale Christie's Tel Aviv 27 April 2008 sold $ 25,000 Private collection, USA

Carmela Rubin has kindly confirmed the authenticity of this work.

$12,000-15,000 5 v

Ludwig Blum 1891-1975 (Israeli)

Jerusalem, David's Tower and the Sultan's Pool, 1964 oil on canvas 33.30 x 46.50 cm (13 x 18 ¼ in) signed in English and dated lower left, signed in Hebrew lower right

Provenance: Sale Christie's Tel Aviv 27 April 2008 $ 26,200

$12,000-15,000 6

Abel Pann 1883-1963 (Israeli, Latvian)

"Rebeccah and her sons, Jacob and Esau", 1940s pastel on paper mounted on cardboard 63 x 46 cm (24 ½ x 18 in) signed upper left

$42,000-45,000 7

Abel Pann 1883-1963 (Israeli, Latvian)

Biblical scene pastel on cardboard 54 x 39cm (21 x 15 ¼ in) signed lower right

$18,000-25,000 8 v

Abel Pann 1883-1963 (Israeli, Latvian)

Sarah and Isaac pastel on paper laid down on paperboard 48.70 x 64.20 cm (19 x 25 in) signed lower right

$16,000-20,000 9 v 10

Herman Struck Zeev Raban 1876-1944 (Israeli) 1890-1917 (Israeli)

Jews in Tiberias, 1929 "And he followed Benayahu handcuffed... oil on canvas and they went up to Jerusalem" 35 x 50 cm (13 ¾ x 19 ½ in) illustration for 'Solomon and Ashmedai" by H. N. Bialik, 1917 signed and dated lower right gouache on paper 24 x 24 cm (9 ¼ x 9 ¼ in) $7,500-8,500 signed in English lower left and in Hebrew lower right $13,000-15,000 11 ludwig bluM 1891-1975 (Israeli)

Tower of David, 1926 oil on canvasboard 26 x 35 cm (10 x 13 ¾ in) signed and dated lower right

$7,000-9,000 Ludwig Blum is renowned for his upon the viewer but is merely a framework with- landscapes of Jerusalem, depicting the Old in which he builds his composition. The solidly city’s gateways and alleys and the life of its built doors and terraces are placed along the diverse population. The painting on sale dates street to construct a well thought out rhythm from the artist's earlier period (1920s), shortly broken only by the arches whose shadows after his arrival in Jerusalem, when he was still break up the strong perspective of the street. dazzled by the powerful local light. The bright Unlike his later works of Old city alleyways, such palette is typical of these early years, when the as ‘Via Dolorosa’, 1945 (Sotheby’s May 2000), artist explored subtle changes in color on the Blum is not concerned in this painting with cre- walls of houses and streets, while his interest in ating an Oriental genre shuk scene, where peo- the portrayal of people was still relatively limited. ple are represented within the limited space of a few shops or a side street, arguing or resting The tradition of urban genre scenes of the city while drinking tea. He is interested in convey- of Jerusalem dates back to the mid-nineteenth ing the atmosphere of a hot summer afternoon century, to artists such as carl Friedrich Werner inside the walled city, where the footsteps of a and Gustav Bauernfeind. It was later taken up person pacing towards us would echo from the by painters of various schools including Stanley surrounding walls. This impression is generated in Inchbold and his contemporary David Blom- an appropriate manner, not through a contrast- berg. Like Werner before him and unlike lesser ing color palette but rather, through a limited known artists such as Inchbold, Blum exhibits a color gradation which creates a delicate sub- thorough understanding of architecture. This dued summer atmosphere. In the all-consuming can be seen in the detailed rendering of larg- heat, the houses and the few people in the dis- er elements (the arches and terraces) as well tance seem to fade away; only the red tarbush as smaller details (doors, windows). In Blum’s of the walking man and the blue dress of the dis- p a i n t i n g , a r c h i t e c t u r e d o e s n o t i m p o s e i t s e l f tant woman, hint at any sign of life in the alley. Oren Migdal

12

ludwig bluM 1891-1975 (Israeli)

Alley in Old Jerusalem 1927 oil on canvas 73 x 60 cm (28 ½ x 23 ½ in) signed and dated lower right

Photo of Via Dolorosa, 1927 old city Jerusalem $30,000-40,000 One of Ludwig Blum’s preferred sites these artists employed color and light to cre- for painting landscapes was on the road ate ‘emotionally moving’ contemplative land- down to the Dead Sea. Here he painted sev- scapes. In this middle period of his career Blum eral views of the Judean Hills overlooking discarded the detailed academic rendering of the lake, and the mountains of Moav with landscapes of his earlier style, in favour of a fre- their characteristic camel caravans. The bar- er model that conceived form without forfeit- ren landscape with the contrasting Moav ing the full academic impression of the object hills daubed red at sunset fascinated the art- painted. While we can still discern the outlines ist, who also occasionally went for unusual of stones and masses of the objects nearby, it subjects such as local Dead Sea industries. is the overall impression of larger areas, such Among this group of Dead Sea landscapes, as the Moav Mountains in the far distance or 13 three paintings stand out with an unchar- the sea, which catches our eye. The pink-vio- acteristic absence of people, buildings or let mass of hills in haze seen in depth, and the animals, as if the artist delighted in mere de- clear blue patch of the sea, are the true actors ludwig bluM 1891-1975 (Israeli) piction of the savage landscape. The unen- in this play, to which the wide-sweeping path cumbered vista offers the viewer an unhin- from right to left leads us as viewers. This new dered contemplation of the bare landscape, model of landscape painting would be that The Dead Sea enabling him to immerse himself in the si- preferred by the artist during his later years, oil on canvas lence and romantic coloring of the sunset. and furthermore, would be influential in defin- 33 x 124 cm (12 ¾ x 48 ¼ in) The romantic aesthetic of color used by Blum ing an abstract concept of landscape in Israeli signed lower right in Hebrew, in this painting harks back to Orientalist land- art of the next generation, in the works of art- lower left in English scapes of the Holy Land, such as those by Karl ists such as Michael Gross and Ori Reisman. Werner and particularly David Bomberg. Both Oren Migdal $18,000-25,000 14 ludwig bluM 1891-1975 (Israeli)

Praying at the Kotel, 1935 oil on canvas 60 x 74 cm (23 ½ x 28 ¾ in) signed (English) and dated lower left. signed again (Hebrew) and located lower right

Provenance: collection Leon Wilder.

$36,000-50,000 15 v ludwig bluM 1891-1975 (Israeli)

Alley in Old Jerusalem oil on canvas 71.10 x 58.10 cm (27 ¾ x 22 ¾ in) signed lower left Provenance: Sotheby’s New York 5 April 2008 sold for $ 22,500

$15,000-20,000 16

Marcel Janco 1895-1984 (Israeli)

Two oriental women oil on board 49 x 70 cm (19 x 27 ¼ in)

Exhibitions: '100 years to the birth of Janco' National Museum of Art in Bucarest, Romania.

Accompanied by a certificate of authenticity from the artist’s daughter at the back of the painting specifying, date and location when the painting was executed.

$28,000-35,000 reuven rubin

Although born in Rumania and trained in art in his native country and in Paris. Reuven Rubin is in many ways the epitome of the Israeli artist. He studied at the Bezalel School of Art in Jerusalem, and he exhibited in the first art exhibitions in Je- rusalem in 1922. His exhibit of 1924 was the first one-man show in the Jerusalem ex- hibits, and his one-man show in 1932 launched the Tel Aviv Art Museum. Rubin was also one of the first Israeli artists to achieve international recognition, first in the USA asearly as the 1940s (although exhibiting in New-York as early as 1921) and later in Europe. Most important, though, was Rubin’s attempt to create an indigenous style of art. Influ- enced by the work of Henri Rousseau, he sought to fuse this style with Eastern nuances. Hence his custom of signing his first name in Hebrew and his surname in Roman let- ters. Among Rubin’s most memorable works are his paintings of the Yishuv, particular- ly his paintings of the Israeli worker in 1920s and his landscapes of typical locations- Je- rusalem, Safed and Galilee Mountains and also the first Israeli town of Tel-Aviv. Biblical themes, Flowers and fruits of Israel as well as portraits also occur frequently in his work. Rubin served as Israel’s first ambassador to Rumania, from 1948-1950. His autobiog- raphy, My Life—My Art, was published in 1969, and he received the Israel Prize in 1973 for his artistic achievement. Among his many exhibitions one can recall the lat- est Retrospective Exhibition in the Israel and Tel-Aviv Museums in 2008, in which the in- tensive research resulted in one of the first comprehensive study of an Israeli artist. O.M. This painting is characteristic of Reuven Ru- the collection of the Israeli Phoenix company. bin's Romanian period, prior to his emigration These figures, like Rubin's self-portraits from to Palestine; it is characterized by dark, melan- those selfsame years, are a reflection of the choly works centered upon lonely, tormented overall Jewish condition, and Rubin's quest as figures representing Weltschmertz, and par- artist and Jew. In the painting under consider- ticularly, the tribulations of Jewish existence in ation, we see an old man with yarmulke on his Eastern Europe, mirroring the influence of the head, slumped upon a bench. His face is con- mood among Jews during World War I and the cealed by his uplifted arm and his hand grasp- subsequent years. This period in Rubin's work is ing a cane. The whole weight of the weary el- discussed extensively in Amitai Mendelsohn's der seems to rest upon the cane, without which essay in the catalogue of the exhibition: "A the whole upper half of his body would col- prophet in his city: the early work of Reuven Ru- lapse upon his knees. The physical exhaustion is bin 1914 – 1923", Israel Museum, Jerusalem 2006. stressed by the bodily posture, and further high- lighted by the murky colouring and the figure’s Along with various versions of figures in the withdrawal inwards into its sufferings. We see a manner of "The Prophet" or "Wandering Jew", man who is powerless, who has internalized the Rubin portrayed characters drawn from every- hopelessness of his plight within his surroundings. day life in the Jewish shtetl, such as the figure In documenting figures like this elderly Jew, Ru- in the painting under consideration; an almost bin expressed his protest over the condition of identical figure features in a painting in the col- the Jews of Europe. His emigration to Palestine lection of the Israel Museum, and a group of shortly afterwards expressed the conclusions he similar figures appears in "Meal of the Poor". drew, and his choice of the Zionist option – a 1922. In a more symbolic context, another simi- choice that was to find extensive expression lar figure shows up in "The Encounter , painted in his works of the twenties and subsequently. in Romania that same year and presently in carmela Rubin

17 v

reuven rubin 1893-1974 (Israeli)

Old Jew with a cane, 1919-20 oil on cardboard mounted on board 71 x 57.50 cm (27 ¾ x 22 ¼ in) signed lower right

Provenance: Private collection Monaco

The work is accompanied by a photo of the original certificate given by Mrs. Esther Rubin, the artist's wife from 4 August 1976, on the reverse of the painting. Carmela Rubin has kindly confirmed the authenticity of this work.

R.Rubin Old Jew 1920 Israel Museum $90,000-120,000 Arthur Kolnik, was born in Galicia in is looking beyond his shoulder towards us. The 1890, He studied from an early age at the School sharply delineated contours of the figures, the of Fine Arts in Cracow, but his most important ar- contrast between young and old and the ar- tistic experience was when he arrived in Vienna tistic convention of the character at the back after fighting as a soldier in the First World War. looking toward the viewer, recall to mind the Here he met with the famous Jewish artist Isidor classical tradition of double portraits, a tradition Kaufmann and saw the works of the major artists which dates goes to Renaissance portraits by Ra of the day- Egon Schiele and Oscar Kokoschka. phael. Kolnik distances himself from this realistic This experience put into perspective his earlier artistic tradition, which he probably absorbed formative memories of Jewish life as a child in from Isidor Kaufmann, by the empathy which Poland, without taking away his source of inspi- he shows to the figures portrayed and a certain ration of Yiddish culture and types in the shtetl. naiveté. This is based not on a lack of artistic In 1919 we find Kolnik in Czernowitz, Rumania, knowledge but through a conscious decision of where he meets the young Reuven Rubin, wanting to depict popular Yiddish characters in with whom he becomes close friend and col- the style which he deemed to be more suitable laborator. They work together living what Rubin to his Jewish roots. The painting would appear to would later describe as “a hermit existence, be based therefore on a curious mixture. While seeking to heal ourselves from the war”. To- the subject matter is taken form his native Gali- gether they decide in 1920 to travel to the USA cian Hasidic tradition, the style employed by the to seek their fortune. In New York they have a artist is a combination between Russian folk idi- mixed fortune. They encounter some success om and German expressionism, these influenc- in a joint exhibition at the Anderson Galleries es mitigated by a poetic inclination in the artist. in November 1921, but, in spite of the favor- This mixture should not surprise us as Czernow- able newspaper reviews fail to break through. itz, the city where Kolnik painted this painting, Kolnik returned shortly thereafter to Czernow- was in the 1920s a cosmopolitan center where itz, while Rubin tried to find his luck in Pales- German, Jewish and Russian influences met. tine. Back in his milieu he continues to make If we compare, Kolnik’s painting to a work of a woodcuts and illustrations for books and is in- similar subject by Rubin ‘An old Jew’ (1920), we cluded in a number of exhibitions. In 1931, he are stricken by their stylistic similarity as much decides to try his luck again abroad this time as by the thematic differences. Although be- in Paris, where he settles and will remain for ing both deeply moving in their ‘humanity’, the the next 30 years and will work as an illustra- close-up method employed by Kolnik brings tor of works of Jewish and Yiddish Literature. out in comparison with Rubin, the artists typical The work on auction is one of his most impressive traits- the strong expressionism of Egon Schiele works from his pre-American experience. Paint- in the withered hands and face of the old man ed in 1920, it was one of the paintings that the which is contrasted to the poetic character of artist took with him to show in the USA and was the artist which can be seen in the depiction of exhibited side by side with the works of Rubin the young man’s face and the soft looking hats in the Anderson Galleries in 1921. Shortly after- and folders of the coat. Paraphrasing the words wards (possibly at the end of 1921) the painting of the New York Journalist who saw Kolnik’s and was sold remained in the New York house until Rubin’s paintings in the 1921 exhibition, while it was brought to Israel in the 1960s by the son. Rubin’s conception of the old man in sharp an- Its subject is typical of the works Kolnik under- gled lines and lowered head would seem to illicit took during the early 1920s. It depicts one of despair in the viewer, Kolnik’s more lenient style the characters of the Jewish shtetl – an elderly inspires the viewer with ‘faith’ in human nature. man resting on his cane with a young boy who Oren Migdal

18

Arthur Kolnik 1890-1972 (Lithuanian)

Old man and child, 1920 71x57,5 cm(271/2 x 221/2 in) oil on cardboard mounted on board

Provenance: Bought from the artist by the parents of the present owner in the U.S.A. in the 1920s.

$35,000-50,000

This is one of Reuven Rubin’s first paint- obviously take time for an actual encounter. ings from the year of his return to the coun- Before us is a hilly landscape thrust to the fore- try (after having spent time here in 1912 as front of the painting like a theatrical set. The a student at Bezalel). The works reflect his contours of the hills stand out like black webs be- experience of the encounter with the land tween the stone houses and above the heads and its people. In a painting of a modern- of the figures. However faintly, these web-like ist orientation, Rubin introduced elements of contours imbue the landscape with something primitivism along with naïve painting, all ex- of a dramatic and frenetic dimension, creat- ecuted in bright and well-illuminated colours. ing a kind of echo of the human presence. Three figures dominate the centre stage: a Rubin derived this style, where the land- man reclining on the sand and two wom- scape echoes the human figures and events en seen from the rear; nearby, a donkey, a in train, from the renowned Swiss artist Ferdi- sheep and a black goat; in the background, nand Hodler. In Rubin’s memoirs, he recounts the crowded, jumbled buildings of an Arab a chance encounter with Hodler in Zurich in village and vegetation notably scrawny: five 1914 – a meeting of enormous significance and isolated bushes standing out over the hills. inspiration, Hodler devoting time to show the anonymous art student his works already taken Rubin contemplated his Arab neighbours with down after an exhibition at the local museum. human curiosity, as was customary among the newly arrived pioneers to whom the Ar- To revert to our subject: the figure of the abs were a source of information on the life Arab fallah is stretched out full length on style required by an unfamiliar environment. the sand, but the manner in which the con- The pioneers had to accustom themselves to a tours of the dune envelop him generate the hot climate, to dazzling sunshine and living con- impression of a foetus within its protective ditions utterly unlike anything they had known in womb, which may reflect the aspiration of a Europe. By contrast, the harmonious existence man eager to integrate in his surroundings. of the Arab villagers, reflected in the simplicity of rural life close to Nature, matched the pioneer- Rubin was much taken with the local inhabit- ing ideals of a return to the ancestral homeland ants, admiring their association with Nature and and striking root there. But it seems that however their connection with animals – to such a de- hard the artist attempted to discover his neigh- gree that the woman on the left, skillfully bal- bours and catch their regard, not only did they ancing a water jug on her head, is recorded fail to respond to his feelers, but actually with- in something of a dance step, highlighting his drew and turned away. We see the two women wonder at her natural innate sense of balance. in the painting from the rear: the one seated on The thin sliver of sky at the top of the painting the right even covers herself in a cloak of pink is pocked with drifting clouds resembling tufts fabric, while the man in the centre, whose face of cotton-wool, which recall the paintings of is exposed, seems to be asleep with eyes shut. French artist Henri Rousseau, yet another source Rubin appears to have encountered open of inspiration for the early Rubin of the twenties. eyes only in the stone village houses… It would carmela Rubin The Water carrier, 1923

Vegetable Vendors, 1923

19

reuven rubin 1893-1974 (Israeli)

The village of Sumeil, 1923 signed and dated lower left oil on canvas 70 x 90 cm (27 ¼ x 35 in) Port of Old Jaffa, 1923 Carmela Rubin has kindly confirmed the authenticity of this work.

$280,000-350,000 This is a painting Rubin produced in Roma- doctor's waiting room) is a sensation of hopeless- nia, in the years succeeding World War I. It is ness in relation to the future of Jewish existence an oil painting executed on both sides of a in Europe. That sensation is also shared by the wooden board. On one side, he painted two paintings on both sides of the board, even if "The figures, a man and a woman, sporting fashion- Prophet" is a work in a different mood, belong- able headgear and seated at a table – ap- ing to a series of post-war paintings concerned parently a café scene. On the other side, in with the figures of prophet or ascetic. Rubin's entirely differently mood, a figure of large di- preoccupation with this motif can be under- mensions within a bare landscape, a kind of stood in the relation to the debate among Jews "prophet" character, exhibiting excision-like in view of prevalent anti-Semitism, when the hu- brush strokes in black paint on face and hands. man grandeur of their prophets, intellectuals and visionaries was flourished in response to the In the first painting, the two figures are observed anti-Semitic libels. (View the article by Amitai from the interior of a room, or possibly, a coffee Mendelsohn in the catalogue to the exhibition: shop. In the background, there is a plant in a "A prophet in his city: Reuven Rubin's early work pot emplaced on a tall, round table; a square 1914 – 1923", Israel Museum, Jerusalem, 2006.) mirror hanging on the wall, opposite a window apparently, for it reflects blue skies; and the Under the influence of Swiss painter Hodler, wing of an open window to the left. Also visible Rubin created a reflective echo between the is the back of the chair on which the female individual human figure and the natural back- figure is seated and the flat table-top upon ground, howsoever minimal. The bare tree vis- which the whiskered man seated behind her ible in the distance appears to be in defensive leans. But neither this wealth of detail - no mere posture within an equally bare and alienated background decoration – nor the elegant ur- setting; it also appears to testify to the plight ban clothing of the characters can dispel the of the human character. Regardless of the enigmatic air about them. Not only do they dominance of his stature within the space of maintain no eye contact – one stares ahead, the painting, the man seems immersed in re- at the painter possible, while the other gazes ligious contemplation, his right hand placed into space, withdrawn within himself – but their upon his heart; he is withdrawn, exposed and expressions testify to loneliness, dissociation and vulnerable. The range of hues that Rubin used discontent, characteristics not unusual in Ru- is limited, from black by way of various shades bin's paintings in the Romania of the war years of gray, to a yellowish pink, which combine and subsequently. Common to the human fig- to generate an inner radiation from within ures in the Symbolist paintings as well as in those the figure, testifying to its unique value into- derived from the everyday (scenes in cafes or a tal contradiction to external circumstances.

Carmela Rubin

In the Café,1918 (detail)

20

Reuven Rubin 1893-1974 (Israeli)

In the doctor's waiting room, Elderly couple, 1919-1921 Phoenix Collection,1918 (detail) oil on cardboard 66 x 45cm (25 ¾ x 17 ½ in) signed lower left

Provenance: Private collection Tel Aviv

Exhibitions: Prophets and Visionaries: Reuven Rubin's Early Years, 1914-23, The Israel Museum, November 2006-July 2007

Carmela Rubin has kindly confirmed the authenticity of this work.

Meal of the Poor,1922 (detail) $65,000-85,000 21

Reuven Rubin 1893-1974 (Israeli)

Prophet oil on cardboard 66 x 45cm (25 ¾ x 17 ½ in)

Provenance: Private collection Tel Aviv

Exhibitions: Prophets and Visionaries: Reuven Rubin's Early Years, 1914-23, The Israel Museum, November 2006-July 2007

Literature: Prophets and Visionaries: 18 Reuven Rubin's Early Years, 1914-23 p.36 (illustrated) Carmela Rubin has kindly confirmed Reuven Rubin the authenticity of this work. 1893-1974 (Israeli)

$65,000-85,000 The painting before the conservation. $65,000-85,000 22 v

Reuven Rubin 1893-1974 (Israeli)

Galilean landscape oil on canvas 60 x 80 cm (231/2 x 311/2 in) signed lower left and titled on the reverse

Carmela Rubin has kindly confirmed the authenticity of this work.

$80,000-100,000

This landscape from the thirties is rep- resentative of Rubin's later style. Having made the acquaintance of the land- scape and its inhabitants during the twen- ties, when his paintings dwelled upon the minutest details of his immediate sur- roundings, he appears in the meantime to have internalized a sense of "at home" familiarity. He now contemplated the vis- ta from a panoramic, somewhat distant, viewpoint, with a more lyrical approach.

Rubin tramped the Galilee trails on the way to Zfat (Safed), and as ever, olive trees were close to his heart. Unlike those of the twenties, the olive trees of the for- ties and subsequently seemed to progres- sively forfeit their material form, and their silvery foliage appears to be dissolving in the light. Up the path stands a building with a roof of red tiles, and a khan (cara- vansary) over whose dome a tower and two coned cypress trees tower like sen- tries on guard. On the track itself, a shep- herd with a flock of black goats; from the other side they are regarded by a don- key and its rider at rest in the shade of a thick olive tree. The human figures are quite tiny in relation to the impact of Na- ture. On the slopes of the distant hilltops, Arab villages and pine cypresses dot the clumps of white houses; below them, the Kinneret (Sea of Galilee) is visible, be- neath a pale blue sky and white feath- ery clouds tinged with the pink of sunset.

The impression is that Rubin is not so much contemplating or investigating his sur- roundings, rather, he is overcome by the beauty and gentle colour of the landscape. Howsoever familiar the sights and vistas, they continue to excite and arouse him. 23 c armela Rubin reuven rubin 1893-1974 (Israeli)

Entrance to Safed oil on canvas 65.50 x 81.30 cm (25 ½ x 31 ¾ in) signed lower center, titled on the stretcher Provenance: Dalzell Hatfield Galleries, Los Angeles, California Sale christie’s sale 7118 lot 165, 2 October 1990 Carmela Rubin has kindly confirmed the authenticity of this work.

Reuven Rubin, Road to Safed, 1927 (detail) $150,000-180,000 24 v reuven rubin 1893-1974 (Israeli)

Galilean landscape oil on canvas 46.40 x 61.30 cm (18 x 24 in) signed lower left and titled on the reverse

Carmela Rubin has kindly confirmed the authenticity of this work.

$60,000-80,000 25 v reuven rubin 1893-1974 (Israeli)

Musicians of Safed, 1959 oil on canvas 60.50 x 50 cm (23 ½ x 19 ½ in) signed lower left

Provenance: Dalzell Hatfield Galleries, Los Angeles. Private collection, Los Angeles. Carmela Rubin has kindly confirmed the authenticity of this work.

$85,000-120,000 26 27 v

Reuven Rubin Reuven Rubin 1893-1974 (Israeli) 1893-1974 (Israeli)

Rabbi holding Torah, 1970 Flute player colored inks and wash on paper board pate de verre 74 x 52cm (29 x 20 in) Edition of 5 by Fucina Angeli, Venezia signed lower left 41 x 30.50cm (16 x 12 in) signed Rubin (Hebrew and English) Provenance: Private collection New York and E. Constantini upper edge and numbered 5/5 Carmela Rubin has kindly confirmed Provenance: Sotheby's 15 April 1998 (sticker on reverse) the authenticity of this work. $12,000-15,000 $8,000-12,000 Rubin frequently painted bunches of flowers, whether in a vase placed on a window sill or as part of a still life. His wreaths of flow- ers – whether cultivated or wild – are invari- ably colourful and fresh. In his early paintings from the twenties, they are set within, or fac- ing, segments of Tel Aviv vistas or Israeli land- scapes. In his paintings of wild flowers, Rubin seemed to embrace local nature as a whole, even when it is represented on the canvas in diminutive. Flowers were always a favou- rite theme, even when his style changed, be- coming in time more abstract and implied.

In the painting under consideration, the mixed wreath (sunflowers, lilies, zinnias, iris- es, and a mass of green branches) occu- pies most of the volume of the painting. Of the concrete details in the earlier works, all that remains in the background are corn leaves washed in blue like the rest of the set- ting, as a means of framing the composition.

Attention now focuses on the flowers them- selves; of the vase wherein they are placed, and the table top on which the vase stands, little is left but a brown surface within the blue background. The flower wreath seems to be set between firmament (the brown earth- like colour) and heaven (the blue), and ap- pears to express the energy of growth and flowering. These flowers project an optimistic self-awareness of belonging, of striking root and of joie de vivre, rather than being com- mitted to depiction of a concrete reality. Carmela Rubin

28 v

Reuven Rubin 1893-1974 (Israeli)

Delphiniums and mimosas, 1950s oil on canvas 81 x 65 cm (31 ½ x 25 ½ in) signed lower left

Carmela Rubin has kindly confirmed the authenticity of this work.

$80,000-120,000 29 reuven rubin 1893-1974 (Israeli)

Arabian Horses signed lower left 50 x 77 cm (19 ½ x 30 in) colored inks and water color on paper board Carmela Rubin has kindly confirmed the authenticity of this work.

$15,000-20,000 30

MosHe CasTel 1909-1991 (Israeli) Self portrait as a young boy with red shirt oil on canvas 24 x 19 cm (91/4 x 71/2 in) signed lower right

Provenance: Estate of the artist Private collection Israel

Soutine, Page at Maxim’s 1925 $12,000-15,000 31

Moshe Castel 1909-1991 (Israeli)

Portrait of a young woman, 1930's oil on canvas 27 x 36 cm (10 ½ x 14 in) signed on the reverse Provenance: Estate of the artist Private collection Israel

$8,000-12,000 c.Monet Boulevard (detail) 32

MosHe CasTel 1909-1991 (Israeli)

Montparnasse, 1934 oil on canvas 72 x 48cm (28 x 18 ¾ in) signed and dated lower right

Provenance: Artist’s estate private collection Israel c.Pissarro Montmartre 1893 $28,000-35,000

Nachum Gutman was one landscapes. These motifs are incorporated in of the founders of Israeli art. In the 1920s, he the painting in Gutman’s characteristic style, and other modernist painters, such as Reuven where colors are diluted as if they were water- Rubin and Pinchas Litvinovsky, were greatly color, so as to give a light-hearted atmosphere attracted to the Oriental lure of the newly dis- corresponding to the ‘lighter subjects’ treated. covered land, its houses, outdoor culture and types. Unlike other modernist painters, the Ori- The lure of the Orient is no less present in this ental flavor continued to be a major force in late 1940s painting on sale, because of the his art throughout his life, both in the motifs lighter treatment of the subject. The deco- he used and in his strongly decorative style. rated carriage driven by a ‘tarbushed’ chari- oteer, set against the background of orange One of the recurring themes in Gutman’s art and pink house facades in Jaffa, is strongly is the open carriage taking famous people, flavoured both in style and subject by the Ori- young women or couples, on tour. These range ent. The slow undulating movement created from the Carriage of Count Montefiore in the by the carriage in motion, or the decorative famous Bialik Street Mosaic in Tel-Aviv; to peo- criss-cross ornament on the façade, are strong- ple traveling in a carriage to one of the many ly evocative of the Orient. The boat stranded orange groves that dotted the area around out at sea above which hangs a full moon the town, and to a barouche waiting in front would seem to complete the Mediterranean of the Bella-Vista Hotel in Jaffa (below). Influ- atmosphere of the painting, as if hinting that enced by jovial Mediterranean scenes in Raoul the bustle of the Oriental city would come to Duffy’s paintings, Gutman found a ready sup- a halt when it arrived in port. Then, even the ply of motifs in this artist’s works, both in the curious onlooker standing in the doorway of theme of the open air carriage, as in the use the house on the left would have to set to work. of narrow openings to overlook distant marine Oren Migdal

33

naCHuM guTMan 1898-1980 (Israeli)

carriage in Jaffa, 1940s oil on canvas 36.50 x 52 cm (14 ¼ x 20 ¼ in) signed lower left

N. Gutman, Red Horses, 1966 N. Gutman, Bella Vista Hotel $50,000-70,000 34 v

Moshe Mokady 1902-1975 (Israeli)

Mother and child oil on canvas mounted on panel 91.40 x 73 cm (35 ½ x 28 ½ in) signed lower left

$9,000-12,000 35

Sionah Tagger 1900-1988 (Israeli)

Boat on the Yarkon River, 1960 oil on canvas 46 x 61 cm (18 x 23 ¾ in) signed lower left

Provenance: Sarah and Ephraim Kishon Estate

$12,000-15,000 37

Mordechai Levanon 1901-1968 (Israeli)

The hills of Mt. Canaan oil on canvas 64 x 92 cm (25 x 35 ¾ in) signed lower left

$12,000-18,000 36

Mordechai Levanon 1901-1968 (Israeli)

Mount Canaan, 1961 oil on card mounted on masonite 100 x 70 cm (39 x 27 ¼ in) signed and dated lower right

$4,500-6,000 Mordecai Ardon was born in fronted with during his daily life, while the card Poland in 1896. Between 1921 and 1924 he stud- is the frailty of our existence and our need to ied at the Bauhaus Art School in Weimar Germa- make decisions whose consequences cannot ny, but with the rise to power of the Nazi party be foreseen (A. Schwartz, Ibid, pp. 40-43). The he fled to Palestine in 1933, where he made his young student would be therefore meditat- home. After the Second World War he learned ing on the past fortunes of his people, as on that he lost his entire family, except for his broth- the moral consequences of his artistic life in er who managed to escape. This experience the perspective of his personal loss. He rests on had a strong repercussion on his life and work. his right hand as if meditating what to do, in a Parable of 1 x 1 is one of a number of works un- pensive posture that symbolizes in art a dream- dertaken during the late 1940s and early 1950s, like mood that could mean that he is brooding which have a strong biographical note. It is a on the past. The hand covering the eye would portrait of the artist as a young man reclining show the difficult mental situation he is in, while on a table in front of him holding a card, while confronting the situation. His aim is clearly writ- his head rests on the other hand, fingers partly ten before him on the slate-- seek perfection. covering his right eye. On the desk is a complex Schwartz explains the painting in the following labyrinth made up of a trap and a mouse. As words “In Parable of 1x1, Ardon portrays himself Arturo Schwartz explains “In all his portraits, it is as a young student who, perplexed, observes apparent that Ardon is more interested in ren- a slate on which an unknown hand has traced dering spiritual identity rather than merely physi- the first term of the Pythagorean multiplication cal appearance The emphasis is not on photo- table 1x1, leaving the product of this simple op- graphic realism, but on the sitter’s psychological eration unresolved. The number one is an al- complexities. Ardon’s self-portraits and portraits most universal symbol of the standing person, are a… commentary upon the innermost feel- and more specifically, of the active person ings of his model.” In 1951 Ardon painted two associated with the creative process. It is also self-portraits. In both works “…Ardon abandons the symbol of the Revelation, of the awareness the figurative approach and instead, relies on a which elevates the human being to the higher complex net of cryptic but telling details..” (A. status of the initiated. For Jung, it is a basic “uni- Schwartz. Mordecai Ardon, The Colors of Time, fying symbol”, loaded with an extremely power- Tel-Aviv and Jerusalem Museums, 2003, p. 61) ful psychic energy which strives to achieve the The cryptic details of the portrait are as conciliation of the opposing poles of an antino- Schwartz states open to interpretation. He my. Plotinus equates the number one with moral believes that they have to be interpreted in purpose. By not writing the product of this sim- relation to the question of moral perfection ple arithmetical operation, Ardon might have after the war. These can be seen in one of wished to underscore that the multiplication of three aspects- abstract moral, personal or ar- man’s efforts to reach perfection is a complete- tistic- which seem to overlap in this painting. ly open question and might possibly result also The key to interpreting the painting is the sym- in a dead end. The fact that a mouse.-which bolical meaning of the trap, mouse and card. in Ardon’s symbolic language stands for a per- The mouse represents in Ardon’s symbolism, secuted Jew-is heading towards a blind alley the Jews hiding from their persecutors; the where further progress is impossible, might sup- trap is the “invisible traps” that a person is con port this interpretation,” (A. Schwartz, ibid, p. 61) Oren Migdal 38 v

Mordecai Ardon 1896-1992 (Israeli)

Parable of 1 x 1 oil on canvas 91.80 x 72 cm (35 ¾ x 28 in) signed lower left

Provenance: Mrs. Belle Kogan Watman, Petach-Tikva. Malca and Amnon Rosenstein, Tel-Aviv. Anonymous sale, Gordon Galleries, Tel-Aviv, 25 May 1988, lot 200. Local collection, U.S.A. Sale Christie's Tel Aviv 27 April 2008 sold $ 241,000 Private collection USA

Exhibitions: Ardon- Retrospective, Tel-Aviv Museum of Art, May- October 1985, no. 39 (Illustrated). Mordecai Ardon, The Colors of Time, February- July 2003, no. 22 (illustrated p. 88)

Literature: M. Vishny, Mordecai Ardon, New-York, 1973, pl. 77, no. 107, p. 226 (Illustrated)

$125,000-150,000 39 v

Samuel Bak b. 1933 (Israeli)

Composition oil on canvas 100.30 x 82.30 cm (39 x 32 in) signed lower left

Provenance: Kallenbach Fine Art, Munich Sotheby's Olympia, July 12 2005, lot 153 Sotheby's New York. 16 Dec. 2008 lot 98

$14,000-18,000 40 v saMuel baK b. 1933 (Israeli)

Good company, 1986 oil on canvas 65 x 81 cm (31 ½ x 25 ¼ in) signed lower right

Provenance: private collection U.S.A

Literature: Samuel Bak, "The Past continues", 1988 ill. 17

$8,000-12,000 41 v

Samuel Bak b. 1933 (Israeli)

The Unexpected oil on canvas 64.80 x 54.80 cm (25 ¼ x 21 ¼ in) signed lower left

Provenance: Pucker- Safrai Gallery, Boston, USA private collection U.S.A.

Literature: Jean Louis Cornuz "Chess as Metaphor" ill. 13

$6,000-8,000 42 yosl bergner b. 1920 (Israeli) 43

Little clown yosl bergner oil on canvas b. 1920 (Israeli) 40 x 30 cm (15 ½ x 11 ¾ in) signed lower left , signed and titled on reverse Lamp and glass on table oil on canvas $5,500-7,000 41 x 27 cm (16 x 10 ½ in) signed lower right

$5,000-7,000 44 45 Yosl Bergner b. 1920 (Israeli) Yosl Bergner b. 1920 (Israeli) Still life, 1958 oil on canvas The big mask 61 x 46.50 cm (23 ¾ x 18 in) oil on canvas signed and dated upper right 70 x 54 cm (27 ½ x21 ¼ in) signed lower right, $8,000-12,000 signed and titled on the reverse

$10,000-12,000 46

Yosl Bergner b. 1920 (Israeli)

“Berl Bass” 47 oil on canvas 60 x 50 cm (23 ½ x 19 ¾ in) Yosl Bergner signed lower right, b. 1920 (Israeli) signed and titled on the reverse Tower of saucepans, 1965 $12,000-15,000 oil on canvas 65.50 x 50 cm (25 ½ x 19 ½ in) signed and dated upper left, signed and titled on the reverse

$8,500-10,000 48 48 A 50 Yosl Bergner Yosl Bergner b. 1920 (Israeli) b. 1920 (Israeli) Yosl Bergner b. 1920 (Israeli) Flowers Flowers in landscape Three lamps and a pepper pot oil on canvas oil on canvas oil on canvas 40 x 30 cm (15 ½ x 11 ¾ in) 40 x 30 cm (15 ½ x 11 ¾ in) 38 x 46cm (14 ¾ x 18 in) signed lower right, signed lower left, signed lower left, signed and titled signed and titled signed and titled on the reverse on the reverse on the reverse

$2,500-3,500 $2,500-3,500 $6,500-8,500

49 51 Yosl Bergner b. 1920 (Israeli) Yosl Bergner b. 1920 (Israeli) Girl and bird oil on canvas Child and bird 40 x 30cm (15.60 x 11.70in) oil on paper mounted on canvas signed lower right (Hebrew), 28.50 x 29.50 cm (11 x 11 ½ in) signed again and titled on the reverse signed upper right

$5,500-6,500 $2,500-3,500 52 avraHaM naTon 1906-1959 (Israeli)

Landscape, 1952 oil on canvas 50 x 61 cm (19 ½ x 23 ¾ in) signed and dated upper right Provenance:: Thelma and Eliezer Levin Private collection Tel-Aviv

Exhibitions: Tel Aviv Museum of Art, Avraham Naton Retrospective, April - July 2008, No. 82 in the catalogue.

$12,000-15,000 53 v

Yohanan Simon 1905-1976 (Israeli)

Shabbat rest in the Kibbutz, 1947 oil on canvas 27 x 35.50 cm (10 ½ x 13 ¾ in) signed lower left in English, signed in Hebrew and dated lower right

Provenance: Private collection New York

$18,000-20,000 54

Yohanan Simon 1905-1976 (Israeli)

Figures in the Kibbutz, 1951 oil on canvas 27 x 33 cm (10 ½ x 12 ¾ in) signed lower left in English, signed in Hebrew and dated lower right

$14,000-16,000 55

Israel Paldi 1892-1979 (Israeli)

People on the beach oil on canvas 37 x 50cm (14.43 x 19.50in) signed lower right

$4,000-6,000

57 56 Arieh Allweil 1901-1967 (Israeli) Joseph Kossonogi 1908-1981 (Israeli) Safed Landscape Flowers oil on canvas oil on cardboard 49 x 61cm (19 x 23 ¾ in) 43.50 x 35cm (17 x 13 ½ in) signed lower left signed lower left

$4,000-6,000 $3,000-4,000 58

Pinchas Abramovich 1909-1986 (Israeli)

Artist's wife oil on canvas 60 x 90 cm (23 ½ x 35 in)

Provenance: Pinchas Abramovich estate. Accompanied with 2 certificates by the artist's daughters.

$5,000-7,000

59 v

Ruth Schloss b. 1922 (Israeli)

Young girl oil on canvas 80 x 52 cm (31 ¼ x 20 ¼ in) signed lower left

Provenance: Private collection New York

$2,000-3,000 61 v

Zvi Mairovitch 60 1911-1974 (Israeli) Jerusalem Zvi Mairovitch oil on cardboard 1911-1974 (Israeli) 47 x 64cm (18 ½ x 24 in) signed lower right Woman with a vase on red background, 1950s $2,800-3,500 oil on canvas 100 x 50 cm (39 x 19 ½ in) signed lower right

$4,500-6,500 Moshe castel returned to Israel into space, and denser and more colorful areas after his prolonged sojourn in France, on one which appear to float towards us. This interac- of the last ships to arrive before the Second tion creates in castel’s own words ‘a rhythm World War. The world war years found him se- of colors and shapes in space’. Eugene Kolb cluded in the artists' colony in Safed, but as interpreted it in the catalogue of the works of the 1948 War of Independence erupted he this period as “a flight into the world of imagi- was back in Tel Aviv, active among a group nation, a pilgrimage to the forgotten sources of modernist artists pursuing artistic innovation. of Oriental art”..(E. Kolb in: Moshe castel Paint- The New Horizons group, founded after Israel's ings 1950-1955, Tel-Aviv Museum, Jan. 1955) Declaration of Independence, challenged him to find a new form of abstract art based on local castel's works in the ‘Hallelujah’ style recall artistic values. Castel, one of its major figures, la- paintings by artists such as Alfred Manessier and beled this new phase in his work ‘Hallelujah’, as Jean Rene Bazaine, from the post-war School of if singing the praises of the newly gained liberty. Paris movement also known as ‘Tachisme’. Like During the next decade he created abstract the former of the two, castel seeks after a hid- compositions in a fresh and bold style, animat- den meaning in his art which is beyond abstrac- ed by skeleton-shaped oriental figures and an- tion. In castel’s work, this takes the form of an cient Hebrew letters. In the larger canvases he exploration of old Hebrew writing to trace the produced during these years, such as the white roots of the Jewish people in the culture of the and blue painting in this sale, castel combines Near East. Here he finds a newly regained artis- powerful movement with a well-considered tic freedom which brings him closer to Jewish structure of line and color. He juxtaposes a lin- tradition. ”The way of painting I have attained ear grid built of figures and letters which appear brings me near to the traditional spirit of the to be in movement, with contrasting areas of Ancient Hebrews which found its expression in more stable color patches of various shapes the abstract. It is my endeavor to get to a new and sizes. This play of movement and repose is order of pictorial ideas, expressing deep senti- reinforced by the contrast between lighter ar- ment through the expansion of the rhythm of eas devoid of any forms which seem to recede forms and colors free from servitude to realism”. Oren Migdal

62

MosHe CasTel 1909-1991 (Israeli)

Hallelujah, 1950's oil on canvas 69.50 x 52.50 cm (27 x 20 ½ in) signed lower left

Provenance: Artist's estate. castel, Hallelujah, 1950 sold Matsart for $ 94,400 $50,000-70,000 64

MosHe CasTel 1909-1991 (Israeli)

Daughter of Jerusalem Bronze 20/250 60 cm (23 ½ in) signed

$1,600-2,000

63

MosHe CasTel 1909-1991 (Israeli)

Tehilim, 1958 oil on canvas 65 x 50 cm (25 ¼ x 19 ½ in) signed lower left

$10,000-12,000 65

MosHe CasTel 1909-1991 (Israeli)

Hallelujah, 1950 oil on canvas 91 x 63 cm (35 ½ x 24 ½ in) signed lower left

Rene Bazaine, Vieira da-Silva1980, composition,1950 capas De Mau Gosto $20,000-30,000 67

Zvi Mairovitch 1911-1974 (Israeli)

66 Untitled oil on canvas Zvi Mairovitch 120 x 90 cm (46 ¾ x 35 in) 1911-1974 (Israeli) signed lower right

Composition, 1970's $25,000-30,000 panda crayons on paper 49.50 x 69 cm (19 ¼ x 27 in) signed lower right

$6000- 8000 68

Yehezkel Streichman 1906-1993 (Israeli)

Untitled, 1959 oil on canvas 81 x 79 cm (31 ½ x 30 ¾ in) signed in initials and dated lower left

$16,000-20,000 69

lea niKel 1918-2005 (Israeli)

Untitled, 1969 oil on canvas 54 x 45 cm (21 x 17 ½ in) signed and dated on reverse

Nikel, composition, 1969 Israel Museum, Jerusalem $26,000-35,000 70

Raffi Lavie b. 1937 (Israeli)

Untitled, 1978 mixed media on canvas 61 x 76 cm (23 ¾ x 29 ½ in) signed lower left, signed and dated on the reverse

$4,500-6,000

71

Aharon Kahana 1905-1967 (Israeli)

Composition oil on canvas 60 x 73cm (23 ½ x 28 ½ in) signed lower right

$3,000-5,000

72 u

Lea Nikel 1918-2005 (Israeli)

Untitled, 1971 oil on canvas 61 x 46 cm (23 ¾ x 18 in) signed and dated lower right

$12,000-15,000 73

Moshe Kupferman 1926-2003 (Israeli)

Composition, 1995 oil on canvas 130 x 162cm (50 ¾ x 63 in) signed and dated lower left and upper left

$20,000-30,000 74 75

Avigdor Arikha Avigdor Arikha b. 1929 (Israeli) b. 1929 (Israeli)

Self portrait Still life with peppers ink and gouache oil on canvas 24.40 x 23.90 cm (9 ½ x 9 ¼ in) 28 x 35 cm (11 x 13 ½ in) signed signed on the reverse

$11,000-14,000 $16,000-20,000 76

Ofer Lellouche b. 1947 (Israeli)

Flowers on a table oil on canvas 130 x 151 cm (50 ½ x 58 ¾ in) signed lower right

$16,000-22,000 77

Ofer Lellouche 78 b. 1947 (Israeli) Ofer Lellouche Interior with puppet b. 1947 (Israeli) oil on canvas 39.50 x 39.50cm (15 ½ x 15 ½ in) signed lower left (English) and again lower right (Hebrew) Still life oil on canvas 94 x 62.50 cm (36 ½ x 24 ¼ in) $3,000- 4.500 signed lower left and again on the reverse

$8,500-10,500 79

Aharon Messeg b. 1942 (Israeli) 80 House on Sea of Galilee, Ginossar, 2001 Aharon Messeg oil on canvas b. 1942 (Israeli) 100 x 100 cm (39 x 39 in) signed lower left, signed and Ginossar, 2000-2008 titled on the reverse oil on canvas The painting is accompanied by 65 x 55 cm (25.35 x 21 ½ in) a certificate from the artist. signed lower left, titled lower right

$7,000-9,000 $3,800-5,000 81

Aharon Messeg b. 1942 (Israeli) 82 A house on the Kinneret oil on canvas 102 x 120cm (39 ¾ x 46 ¾ in) Menashe Kadishman signed lower right, signed and titled on the reverse b. 1932 (Israeli)

$9,000-12,000 Sheep head acrylic on canvas 80 x 60cm (31 ¼ x 23 ½ in) signed lower right, signed again on reverse

$2,000-4,000 84 v

Shaul Schatz b. 1944 (Israeli)

Two children playing in a field, 1991 oil on canvas 89 x 117cm (34 ¾ x 45 ½ in) signed and dated on the reverse

$2,000-2,500 83

Jacob Loutchansky 1882-1978 (Israeli) 85 86 87

The Guitar Player David Gerstein Amos Kenan Dan Zaretsky Bronze 5/9 b. 1944 (Israeli) b. 1927 (Israeli) b. 1938 (Israeli) 30 cm (11 ¾ in) Savior signed Artist's Workshop, 1993 bronze Don Quixote and Sancho Panza oil on canvas 45cm (17 ½ in) Bronze $3,200-4,500 90 x 100 cm (35 x 39 in) signed A.P. signed signed lower right, 50 cm (19 ½ in) signed and dated on the reverse $4,000-5,000 $8,500-10,500 $4,500-5,500 89

Nahum Gilboa b. 1917 (Israeli)

Seder Pesach acrylic on canvas 40.50 x 50.50 cm (15 ¾ x 19 ¾ in) signed lower center

$6,500-7,500

88 90

Albert Benaroya Nahum Gilboa b. 1963 (Israeli) b. 1917 (Israeli)

Learning The Wedding oil on wood panel acrylic on canvas 63.50 x 45cm (24 ¾ x 17 ½ in) 36 x 28 cm (14 x 11 in) signed lower left signed lower right

$8,000-10,000 $4,000-6,000 91

Varda Ginsburg XXth century (Israeli)

Still life with books and talith oil on canvas 40 x 60 cm (15 ½ x 23 ½ in) signed lower left

$5,000-7,000

92 v 93 Israel Zohar b. 1946 (Russian, Israeli) Albert Benaroya b. 1963 (Israeli) Yad Avshalom, 2006 oil on board Study with oil lamp 73 x 54 cm (28 ½ x 21 in) oil on wood panel signed and dated lower left 75 x 60cm (29 ¼ x 23 ½ in) signed lower right $3,500-5,000 $10,000-12,000 94 v 95 v

Zvi Malnovitzer Zvi Malnovitzer b. 1945 (Israeli) b. 1945 (Israeli)

Havdala, 1990s The Rebbe's Tisch, 2008 oil on canvas oil on canvas 53 x 41.50 cm (20 ¾ x 16 ¼ in) 81 x 60 cm (31 ½ x 23 ½ in) signed lower left signed lower left

$15,000-18,000 $20,000-30,000 97 v

daniel Kafri b. 1945 (Israeli)

King David bronze 75 x 80 cm (291/2 x 311/2 in) signed and numbered on base 2/9

$12,000-18,000

96 v

MarC CHagall 1887-1985 (French)

David and Batsheva hand colored etching, 1931-1939 plate 75 from La Bible initialled in pencil and numbered 80/100 published 1956 by Teriade, Paris on wove paper 38 x 31 cm (14 ¾ x 12 in)

Provenance: Property of a distinguished German gentleman

$6,000-8,000 Jozef Israels is considered (together classic tradition, in the more realistic portrayal of with Pissarro and Isidor Kaufmann) to be one the drab looking shop- the dirty cobbled street, of the greatest nineteenth century painters of shaky table holding the pottery and the loosely Jewish origin. Notwithstanding his origin, he depicted pots and utensils on the floor at the rarely painted Jewish subjects, preferring genre right. Figure and merchandize are united by the scenes of peasants and fishermen at work, in silvery-gray light lighting the center of the paint- which he emphasized their humble origins ing. The light serves here a double purpose that and their hard labor. The rare exceptions to of accentuating the melancholy of the theme this rule are a small number of portraits of Rab- and to elevate the figure to a symbolical level. bis and characters from the Jewish Ghetto. Jozef Israels created here a new iconic subject. In the summer of 1889, Israels made a sharp Although the model on which the person de- change in his style creating the monumental picted appears to have been someone known- painting of Son of the chosen People (now in the Salomon de Vries- the impact of the monumen- Stedelijk Museum, Amestrdam), which marked tal painting on the Dutch audience of the time a new stage in his career. The work depicts a was strong. The painting was acclaimed as an Jewish merchant sitting outside his curiosity shop expression of the dignity and uncertainty of the surrounded by an odd assortment of merchan- Jewish Ghetto and of Jewish Diaspora. Israels dize- pans, pottery, utensils and two umbrellas. himself was later referred to as ”the son of the As in his scenes of peasants, Israels falls back on chosen people”. As has been written by Josef the age old tradition of Dutch genre painting. Israel’s expert Mrs. Dekkers, the artist made dur- In this painting he is deeply indebted to Rem- ing the same year several replicas of the larger brandt’s portraits of Amsterdam Jews, as that work for the American art market. A group of of ‘Head of a young Jew’ (Staatliche Museum, letters (to be sold with the painting) dated be- Berlin). The boney facial type with deep set tween August 12 and October 1, 1889 sent by eyes, the use of thick oil paint to create move- Israels to his patron Mr. charles B.Rogers, men- ment in the dark background and particular- tions the title of the present work and that it ly the use of a dramatic light to highlight the was made ”with much pleasure and I believe suffering face of the young Jew, derive from that it is a very good specimen of my art”. t h e o l d m a s t e r . I s r a e l s b r e a k s a w a y f r o m t h e Oren Migdal

98 v

JoZef israels 1824-1911 (Dutch)

Son of the chosen people, 1898 oil on canvas 69.50 x 52.50 cm (27 x 20 ½ in) signed lower left Provenance: charles B. Rogers, London and Mrs. P.V. Rogers, Utica, New York (acquired directly from the artist by 1 Oct 1889) collection Gross, Tel Aviv Sale Sotheby's (Tel Aviv), 15 April 1993, lot 73, illustrated Accompaned by original letters from the artist Literature: D. Dekkers, Jozef Israels, 1824-1911, Zwolle 1999, p. 225

Rembrandt, Young jew 1640. $85,000-105,000 99 v 100 v

Jozef Israels Jozef Israels 1824-1911 (Dutch) 1824-1911 (Dutch)

A midday rest Watching the boats oil on canvas oil on panel 61 x 80.50 cm (23 ¾ x 31 ½ in) 40 x 32 cm (15 ½ x 12 ½ in) signed lower left signed lower left

The authenticity of the work Provenance: Mr. Julius O. Frank has been confirmed by American Art Galleries, NY March 1907 Dr. Dieuwertje Dekkers on Private collection USA 1907 to present 3 March 2008 . Literature: Catalogue of Highly Valuable Oil Paintings and Water colors of Distinguished Masters of Old and $26,000-32,000 Modern Schools, sale of Armerican Art Association, Mgrs, New York, 1907 no. 46

$10,000-12,000 A master of landscape, Khokhryakov followed the tradition of the Russian realistic school of painting of the latter half of the 19th century. He was born and lived in Vyatka. In 1880-82 he studied drawing and etching in St. Petersburg in the class of Ivan Shishkin, who con- sidered it "a shame to bury such talent in Vyatka".

From 1886, Khokhryakov was an exhibiting member of the Society of Traveling Exhibitions. He was among the founders of the Vyatka Art and History Museum and first curator of its picture gallery. His paintings are stored at the State Tretyakov Gallery, the Pushkin State Mu- seum of Fine Arts, and the Kirov Art Museum.

In the 1880's, upon his return home from St. Petersburg, he painted tranquil northern ham- lets, meadows, wild nature, and the village of Adyshevo where he spent his summers. Also known as "a singer of the northern land- scape", Khokhryakov addressed landscape motifs much in the manner of Alexei Savra- sov, Feodor Vasilyev, Arkhip Kuinji, Ivan Shishkin, Isaac Levitan and Vasily Polenov.

"Landscape with Cows" represents one of Khokhryakov's unpretentious, contemplative rural motifs taken from life. In its composition and finely developed, calm color, it is strik- ingly similar to "Cloudy Day" created in 1886. "Cloudy Day" was exhibited at the Itinerants' exhibition and purchased by Pavel Tretyakov for his private collection. In "Landscape with Cows" we can also see the compositional and thematic influence of Shishkin's "Oaklets" (1886, State Tretyakov Gallery). From Shishkin, Khokhryakov adopted his close contempla- tion of nature. Both artists' landscapes con- tain elements of monumental painting—the composition unfolds along the horizontal axis with wide open illuminated foreground, trees and bushes on the middle ground and the sky in the background, thus imbuing the land- scape with an epic note. In contrast, Khokh- 101 ryakov combined objectivity of image with the constrained inner warmth and lyricism which became a characteristic feature of his work. Nikolay Khokhryakov 1887-1928 (Russian)

Landscape with Cows oil on cardboard 28.50 x 48 cm (11 x 18 ¾ in) signed lower left in cyrillic Provenance: private collection Israel

$10,000-15,000 Isaak Ilyich Levitan is a well- Levitan's influence that transformed landscape known Russian landscape painter. In 1885 he into an essential genre in Russian painting. Artist graduated from the Moscow college of Paint- Alexander Golovin wrote that ”Levitan under- ing, Sculpture and Architecture. The great- stood as nobody else the transparent tenderness est influences on Levitan were his teachers V. of Russian nature, its sad charm. [...] His paint- Polenov, A. Savrasov and V. Perov. Recog- ing, which produces an impression of sheer sim- nition came to the artist early, as the famous plicity and naturalness, is in fact extraordinarily Russian Maecenas Pavel Tretyakov bought his sophisticated...” One of the critics, a contem- picture ”Autumn Day. Sokol’niki” from the stu- porary of the artist, noted that, ”As a mockery dent's exhibition in 1879. Levitan was a mem- of nationalism [...], it happened to be simply a ber of the Society of Itinerant Art Exhibitions. Jewish young man to whom the secret of the in- In 1898 he participated in the exhibition ”Se- nermost beauty of Russia had been revealed.” cession” in Munich, where some of his paint- During his twenty years of creative activity Levi- ings, including his masterpiece ”Above the tan created several hundreds of pictures and Eternal Peace” were presented. The artist a number of preparatory sketches. The motifs died in Moscow in 1900, having been the last for his best works, such as village fences, wharfs, figure of the Golden Age of Russian culture. forest roads and birch woods, monasteries and Levitan was a contemporary of Mikhail Vrubel, churches at sunset, ravines, haystacks and Valentin Serov and Konstantin Korovin. He had sheaves in fields and peasant izbas, he found long-term friendly relations with Russian writer in the middle zone of European Russia and Anton chekhov. Levitan’s name was attributed on the Volga river. chekhov wrote: ”Nobody to the establishment of the lyrical ”landscape of before Levitan could have reached such an mood,” in which the main painting problem was amazing simplicity and clearness of motif that maintaining precise conformity of the palette he reached recently, and I don’t know whether to the condition of nature and the person. It is anyone could ever be able to reach it afterhim.”

Isaac Levitan, Lake, c. 1890. Isaac Levitan, Early sping, c. 1880. 102

Isaak Il'ich Levitan 1860-1900 (Russian)

Russian landscape signed lower left in Cyrillic oil on canvas 40.50 x 50.50cm (15 ¾ x 19 ¾ in) Provenance: private collection Israel

$180,000-260,000 103

Auguste Francois Bonheur 1824-1884 (French)

Cattle grazing on a hillside beside a lake oil on canvas 67 x 100 cm (26 x 39 in) signed lower left

$6,000-8,000

105 v

Rosa Bonheur 1822-1899 (French)

Lion 104 v oil on canvas 46 x 55 cm (18 x 21 ½ in) signed lower left, studio's wax Rosa Bonheur seal on reverse 1822-1899 (French) $5,000-7,000 Lion and lioness watercolor on paper 53 x 52 cm (20 ¾ x 20 ¼ in) signed lower right, studio's wax seal on reverse

$4,000-6,000 106 after Rembrandt 19th century

Samson and the wedding guests oil on copper 38 x 50cm (14.82 x 19.50in)

$8,000-12,000 107 v

Robert Kemm 1837-1895 (British)

A Kabyle Fruit Seller, Algiers signed lower left, signed and titled on the stretcher 92 x 71 cm (35 ¾ x 27 ¾ in) oil on canvas

Rembrandt, Samson posing the Riddle to the Wedding Guests, 1638, Dresden2 $18,000-25,000 108 v

Camille Pissarro 1830-1903 (French) 109 v Figures in a landscape sanguine and watercolor on light blue paper Armand Guillaumin 46.50 x 61 cm (18 x 23 ¾ in) 1841-1927 (French) stamped with initials 'C.P.' (Lugt 613a), lower right Apple trees in blossom Provenance: Estate of the artist. Ile de France, ca. 1887 Mme Rodo-Pissarro, Paris. oil on canvas Anon. sale, Parke-Bernet Galleries, Inc., New York, 59.20 x 73.90 cm (23 x 28 ¾ in) 21 November 1963, lot 56. signed lower left Bert D'Armand, New York. Christie's New York 10 September 2008 lot 69 Literature: Georges Serret & Dominique Fabiani, Armand Guillaumin, 1841-1927, $10,000-15,000 Catalogue raisonné de l'œuvre peint, Paris, 1971, no. 161, illustrated n.p.

$20,000-25,000 Bonnard was born in 1867, in the Paris Bonnard was not alone in his passion for the suburb of Fontenay-aux-Roses. He studied law, crowded Parisian boulevards. He shared his fas- and on graduation practiced briefly as a bar- cination with the city with a number of Impres- rister, but simultaneously attended art lessons. sionist and Post-Impressionist painters, including In his twenties he began to preoccupy him- Claude Monet, Renoir and Camille Pissarro. In self more with art, becoming part of the Nabis choosing his subjects, Bonnard evidently drew on symbolist group. In time he abandoned his le- a long tradition of portrayals of the city's tumul- gal career for a fully fledged artistic existence. tous streets, boulevards and squares. While the busy street brings to mind Pissarro’s renowned In the autumn of 1899, Bonnard rented a stu- paintings of crowded boulevards in the 1890s, dio and apartment at 65 rue de Douai, near the nocturnal setting recalls both Renoir and Place Clichy and Place Pigalle. Here he could Tolouse-Lautrec, with their similar color scale. indulge his fascination with the vibrant urban Bonnard’s earliest depictions of Parisian streets landscape of Paris. Charles Terrasse described date back to the 1890s. Some of them, such of his visit to the studio: “There were canvases, as ‘Personnages dans la rue” (1894), already easels all around… The balcony was a place show his interest in the dynamic of crowds. In that was particularly attractive. From there the 1906 painting of the Place de Clichy, this one could see so many things. A whole world. absorption with multitudes is taken up with a The street below was bustling… agitated like vigorous brushstroke and a richer color palette, a sea” (quoted in Charles Terrasse, Pierre Bon- creating a powerful sensation of joie de vivre. nard Early and Late (exhibition catalogue). The depth typical of his earlier urban land- The Philips Collection, Washington, 2003, p. 33). scapes is here replaced by a flatness and lack The hurly-burly of Parisian street life can be of perspective, typical of some Post-Impression- clearly sensed in the painting on auction. The ists such as Tolouse-Lautrec. The artist applied colorful Place Clichy, visible from the artist’s this stylistic tool to focus the viewer’s attention balcony, exhibits a crowded night scene. Well on the bright tones and the strong sense of en- dressed people, possibly walking to or from ergy emitted by the crowd, clearly delighting one of the local cafés, mingle with market ven- in recreating the sensation of the feverish night dors selling oranges and flowers. The crowds life. At the same time this spectacle of urban are packed together on one side, while the modernity signals his departure from Expression- vendors stand on the other, against the back- ism and his move towards the more abstract ground of a lighted double-storey building. art which would characterize his later work. Oren Migdal 110 v

Pierre Bonnard 1867-1947 (French)

Boulevard de Clichy, 1907 oil on canvas 28 x 40 cm (11 x 15 ½ in) signed lower left

Provenance: Through succession in Bonnard Family Private collection Paris from 1960.

Literature: Jean and Henry Dauberville, Catalogue raisonné of the artist's paintings, volume II, 1906-1919, éditions J. and H. Bernheim-Jeune, Paris 1968, catalogué No 461, reproduced page 84

$125,000-150,000 111 v

Albert Andre 1869-1954 (French)

Rue a Marseille oil on canvas 56 x 45.70 cm (21 ¾ x 17 ¾ in) signed lower right

Provenance: Galerie Marcel Bernheim, Paris, 1965. Private collection New York

$14,000-18,000

Along with Van-Gogh and Matisse, Raoul does not paint what he sees, he paints what he is, Dufy is possibly one of the most popular art- and certainly it is not what anybody else sees… ists of the past two decades. His repute owes Dufy… abstracts the colors of which he is made much to his paintings of colorful scenes of and he puts them down in the light and shade racecourses, regattas and popular festivities. of which he is made and his eyes have little to Dufy was born in 1877, in Le Havre in Northwest do with it”. (Gertrude Stein, 1946 in- Raoul Dufy France. After completing his military service, 1877-1953, Exhibition cat. Hayward Gallery, Lon- he gained entry to the Ecole des Beaux-Arts don, 9 November 1983- 5 February 1984, pp. 67). in Paris. Here he became acquainted with the Impressionists and came under their influ- Dufy’s gift for abstract structure became ap- ence. From 1905 he became active in the parent as early as 1905-1906. In his earliest new Fauve movement, together with Ma- works, the artist depicted the street scenes and tisse and Derain. The painting on auction popular celebrations with which he found him- was executed in 1905 at the height of Dufy’s self most at ease. As noted by art historian John currently much appreciated Fauve period. Elderfield, these works display a boldness which surpassed that of his colleagues in the Fauve Among the few artists and friends quick to dis- movement both ”in the foreground placement cover Dufy’s great talent and originality was (of the figures) and vivid coloring of the flags”. Gertrude Stein. In a well-known article pub- To the artist, the flags convey “an emblematic lished in 1935, Stein urged her readers to medi- and epic quality” not merely celebratory but tate about the extreme pleasure that Dufy’s art with a stirring quality which originates as the induces: ”One must meditate about pleasure. color in the artist’s inner sensations (J. Elderfield, Dufy is pleasure. Think of the color and it is not The “Wild Beasts”-Fauvism and its affinities”, The that; and the line and it is not that; but it is that Museum of Modern Art, 1976, p. 78.) Or in the which is all together and which is the color that is artist’s own words: ”I understood the new rai- in Dufy." For Stein, pleasure was part of the artist’s son d’etre of painting and Impressionist realism work ethic: ”I always think of Dufy and the etch- lost its charm for me as I beheld the miracle of ing of the kitchen utensils and the sofa and the the creative imagination at play” (quoted in J. Moulin de la Galette, war, rheumatism no noth- Lassegne, Dufy, New-York, n.d., p. 22). For Dufy, ing touches it, it is always in a state of pleasure”. this entailed granting priority to color and form Stein was also one of the first critics to point out as an expression of his inner vision, over a realistic Dufy’s instinct for abstract structure: ”...think of p o r t r a y a l o f n a t u r e i n t h e I m p r e s s i o n i s t t r a d i t i o n Dufy, nobody calls him abstract but he is, he Oren Migdal 112 v

raoul dufy 1877-1953 (French)

Le bal populaire, 1906 oil on canvas 34.30 x 42.40 cm (13 ¼ x 16 ½ in) signed lower right

Provenance: Gustave coquiot, Paris. Anon. sale, Galerie charpentier, Paris, 10 December 1959, lot 38. Galleria del Milione, Milan (by 1969). Acquired by the family of the present owner, circa 1972 Exhibitions: Milan, Galeria del Milione, Raoul Dufy, March-June 1969, no. 4. Literature: M. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Geneva, 1972, vol. I, p. 209, no. 244 (illustrated). Raoul. Dufy, Le bal champetre, 1906, Sotheby’s London 2006, sold for $580,000 $150,000-200,000 113 v 114 v

Suzanne Valadon Jean Pierre Cassigneul 1865-1938 (French) b. 1935 (French)

Bouquet of flowers on round table, 1932 Le Bonnet de Bain, 1978 oil on canvas oil on canvas 61 x 50 cm (23 ¾ x 19 ½ in) 81 x 60 cm (31 ½ x 23 ½ in) signed and dated lower right signed lower right Provenance: private colletion France Provenance: Galerie Jurez, Los Angeles Galerie Rienzo, New York $55,000-75,000 private collection A certificate of authenticity accompanies this painting signed by the artist. This work will be included in the forth coming catalogue raisonne.

$60,000-80,000 In his time, Lesser Ury was considered as one of the greatest German Impressionists, ac- quiring his reputation by virtue of his pastel paintings of streets and landscapes of lakes and rivers, which in Martin Buber’s words ”go far beyond their content and are so vi- sionary, that it is possible only to feel them”. Ury was particularly intent on capturing atmo- spheric qualities such as moods created by light reflected in water or foliage. In this painting from his Berlin period, Ury contrasts the bright- ness of the tranquil water of the ‘Landwehr- kanal’, a long canal running through the city, with the deep shadows of the trees along its sides. The silvery color of the water merges with the sky, blending with the gloom of the dense L. Ury, Unter den Linden mit Blick auf trees to create a hazy setting. This impresses the das Brandenburger Tor, Hauswedell viewer with a strong sensation of stillness and a & Nolte, 2007 sold for $128,000 feeling that he is in a landscape frozen in time. In this serene atmosphere, the figures strolling along the promenade on a Sunday afternoon seem to be slowly engulfed by the mist, as if quietly withdrawing within themselves, just as the small patches of sun retreat before the mist. A masterpiece of refinement, this painting shows what cecil Roth called the artist’s su- preme mastery of the pastel technique or in his words- ”Lesser Ury’s landscape paint- ings are among the best works of impression- ism. In his works in pastels he created a broad domain for himself, in which he rose to a bril- liant technical level” (cecil R o t h , J e w i s h A r t ) . Waterfront promenade in Kreuzberg O r e n M i g d a l

115

lesser ury 1861-1931 (German)

Walking by the 'Landwehrkanal' in Berlin pastel on carton 60 x 73 cm (23 ½ x 28 ½ in) signed lower left Provenance; private collection Israel

$12,000-15,000 117 v 116 Mela Muter Mela Muter 1876-1967 (Polish, French) 1876-1967 (Polish, French) Le Pont St Michel, Paris, 1920's Portrait of a woman oil on canvas laid on board oil on canvas 58 x 70 cm (23 x 27 ¼ in) 55 x 42 cm (21 ½ x 16 ¼ in) signed lower right signed upper right Provenance: Collection of the artist, Paris $15,000-18,000 Collection of the Raskin family, New York (acquired directly from the artist in the early 1940s)

$40,000-60,000 118 v

Gustave Loiseau 1865-1935 (French)

Port of Henri IV, Paris, 1918 oil on canvas 54 x 65 cm (21 x 25 ¼ in) signed lower right

Provenance: Galerie Georges Petit, Paris. Galerie Durand Ruel et Cie., Paris. Wildenstein & Co., London. Anon. (acquired in 1954); sale, Sotheby's, London, 27 March 1985, lot 136. Acquired at the above sale

Didier Imbert has kindly confirmed the authenticity of this work

$55,000-65,000 119 v

Moise Kisling 1891-1953 (French)

Le port de Marseille, 1925 oil on canvas 54 x 46 cm (21 x 18 in) signed lower right

Provenance: Arthur Lenars, Paris, no. 201. (sticker on back of painting) Modern Art Foundation, Vaduz. (sticker on back of painting) Modern Art Foundation, Geneve.

Exhibitions: Torino, Galleria d'arte Pirra, April-May 1972, no. 27. Geneve, Retrospective Moise Kisling, June- October 1972. Nice, Palais de la Mediteranee, March-April 1973. Yamoto Foundation Nara, Fine Art Exhibition, cat. no. 33.

Literature: H. Troyat and J. Kisling, Kisling 1891-1953, Torino, 1985, vol. II, no. 55 (illustrated p. 269).

$50,000-70,000 120 v

Andre Hambourg 1909-1999 (French)

Sailing school in Deauville oil on canvas 50 x 73 cm (19 ½ x 28 ½ in) signed lower right

Provenance: Ader, Picard, Tajan, Paris, 10. 2. 1986, No. 116; Swiss private collection.

$25,000-35,000 Maurice de Vlaminck applied at the height of the Fauve period, in is considered, together with Henri Matisse favor of a style which became in time more ex- and Andre Derain, to be one of the founders pressive. The bold energetic brushstrokes and of the Fauve school. By 1907, Vlaminck, out- dark outlines shown in the present work are the growing the movement he had founded, be- artist’s signature style of the later period, creat- gan to search for new artistic objectives to ing a dramatic and visually striking effect ap- match his brash temperament. ”The play of plied to highlight the appearance of the sunset pure colors, the extreme orchestration into above the French village. The expressive brush- which I threw myself unrestrainedly no lon- strokes are carefully planned to suit a measured ger satisfied me’, he subsequently wrote. spatial composition. They construct a diagonal The cezanne retrospective exhibited at the line which leads the viewer’s gaze into the dis- Salon d’Automne in 1907 exercised a powerful tance, where it initially meets the solid houses effect on the artist, offering him the opportu- that contrast with the more abstract outlines of nity to explore new stylistic trends. Henceforth, the path, and subsequently, the intensely col- Vlaminck sought to find new sources of expres- ored orange sky. Deeply attached to the rep- sion in the work of the master. This influence had resentation of village scenes at different time of a lasting impact on Vlaminck, as we can see in year, this summer sunset stands comparison with his choice of the village scenery for his subject the best of Vlaminck’s more numerous winter matter, as in the composition of the painting on scenes. The well constructed composition of the auction, dating from 1927, which ultimately de- houses dotted along the village road, and the rives from the French Post-Impressionist master. expressive sunset, where the dominant orange is carefully contrasted with a colder green-blue Under Cezanne’s lasting influence, Vlaminck palette, is beautifully planned and executed. started to veer away from the vibrant colours Oren Migdal

121 v

MauriCe de vlaMinCK 1876-1958 (French)

Village scene at sunset oil on canvas 60 x 73 cm (23 ½ x 28 ½ in) signed lower left Accompanied by a certificate from the Wildenstein Institute from October 2nd 2008 confirming the authenticity of the painting.

$90,000-120,000 122 v andre lansKoy 1902-1976 (French)

Still life with fish plate and asparagus oil on canvas 59.70 x 81.30 cm (23 ¼ x 31 ¾ in) signed upper right

The authenticity of this work has kindly been confirmed by Monsieur André Schoeller.

$35,000- 45,000 123

Joseph Pressmane 1904-1967 (French)

Sunset over a village, 1960 oil on board 38 x 55 cm (14 ¾ x 21 ½ in) signed and dated lower right, titled on the reverse $3,000-5,000 124

Michel Kikoine 1892-1968 (French, Belarusian)

Woman and a bird oil on cradled panel 92 x 60 cm (35 ¾ x 23 ½ in) signed lower left

$22,000-28,000 125 v

Henri Epstein 1892-1944 (French)

Still life with flowers oil on canvas 50 x 61cm (19 ½ x 23 ¾ in) signed lower left

$12,000-15,000 Abraham Mintchine was finally the night landscape seen from the win- born in Kiev, Ukraine, in 1898 and, as a young dow. In each of the three planes the subject is man, worked as a goldsmith. During the Petly- presented to us by an intermediary object- tea ura’s persecutions he suffered hunger and con- spoon, book and curtain. These objects have tracted tuberculosis from which he eventually a double function- interior and exterior- they died in 1931 at the age of only 33. At his heart communicate to us a reality but at the same a painter, he is said by his close friend Andre time construct an imaginary world, which is the Favory to have worked from sunrise to sunset, artists own and would appear to be part of an possibly to fight against his presentment of his inner need of his. This is best exemplified by the forthcoming death. In 1923 Mintchine left Rus- beautiful laced curtain before the window on sia, first to Berlin, where he staged a first exhi- the upper right. The curtain’s narrative func- bition of his works and later to Paris, where he tion is to ‘present’ the viewer the night land- was recognized as one of the more talented scape which peaks behind the robust looking painters of the School of Paris. In this group wooden window. The lace type curtain would he was renown for being a supreme colorist seem though to communicate not only on this and by his solidly built, clear and comprehen- realistic level, but to interact with the lace-type sible paintings. Notable are his landscapes façade of the house depicted in the window and interiors as well as the flower bouquets. and strangely enough also with the pattern on In 1934 were exhibited a large group of his the red cardigan the man is wearing. Through works which included among others different this subtle game of form and texture we link sights of Paris and a few of his typical portraits. the interior reality of the man in the room to the outer imaginary reality of the Paris night. The Portrait of a man is one of the most exquisite works of the artist. It portrays a man with a blood Mintchine’s Portrait of a man is one of the red cardigan cigarette in hand, seated next to works which is closer to that of his today more a round table before a large window. For Mint- famous contemporary in the School of Paris, chine the choice of subjects was dictated by an Soutine. The blood red cardigan, whose col- inner edict according to which the depiction of or according to Massimo di Veroli would be reality must correspond to the memory. When he “synonymous of sufferance and of interior dis- turned to portraiture he usually portrayed mem- comfort” (Abraham Mintchine, pp. 119) and bers of his family: his wife and daughter. Only the boney hands would most promptly call to more rarely do we find portraits of other people our mind this artists work. Mintchine’s portraits as the one before us, most of which are from his (as that closely resembling the one here of ‘Ri- later years. In these the artist tries to dialog with tratto d’uomo’ in the Ein Harrod Museum in Is- the viewer by trying to bridge the gap between rael), would seem to detach themselves from him and an imaginary subject, and in the pro- what Di-Veroli called “the blessing and the cess attempting to hold to a reality that van- curse of a lost home and a persecuted race” ished. (see- Alberto Verga, in the supplement of the Russian Jewish artists of the School of of Abraham Mintchine 1898-1931, Milano 1981) Paris, by his poetical appeal (Abraham Mint- In the Portrait of a man Mintchine weaves an in- chine, pp. 123). “A poet of nature, of life... He tricate dialog between the painted image and succeeded in intimately interlacing music with the viewer. The artist has programmed a com- painting”. The optimism and warmth of this plex strategy by which the viewer is supposed painting bring to mind Andre Favory’s saying to take in the paintings subject in steps-first the that his portrait painted by Mintchine illuminat- tea cup, than the human figure portrayed and ed his room as if it was an original Van-Gogh. Oren Migdal 126 v

Abraham Mintchine 1898-1931 (Ukranian)

Abraham. Mintchine Portrait of a man c.1929 Bambino con Arlecchino oil on canvas 92 x 73 cm (35 ¾ x 28 ½ in) signed lower left

Provenance: Galleria Lorenzelli, Bergamo, 1970. Galerie Di Veroli, Paris, 1985.

Exhibitions: Milano, Compagnia del disegno, 1981. Roma, Regine Gallery, 1986, catalogue (photo) Abraham Mintchine, Mane Katz Museum Exhibition, May 1999, no. 31 (in the exhibition catalogue) Musee de Montparnasse, Paris, 2000, catalogue (photo)

Literature: Massimo Di-Veroli, Abraham Mintchine 1898-1931, Giorgio Armando e Associati, Paris, 1981, pp. 88 (full page color photograph). C h a im. Soutine Woman in Red, 1923-4 $120,000-150,000 127 v

Mane Katz 1894-1962 (Ukrainian, French)

The Lesson, 1932 v oil on canvas 128 41.90 x 33.70 cm (16 ¼ x 13 ¼ in) signed and dated upper right Mane Katz Provenance: Private collection, London. 1894-1962 (Ukrainian, French) Sale Christie's Tel Aviv 27 April 2008, sold for $25,000 Private collection, USA Jewish Family Exhibitions: Mane Katz- Memorial Exhibition, Ben Uri Gallery, oil on canvas London, May 1963. 35 x 27 cm (13.65 x 10.53 in) signed upper left, signed and titled on stretcher Literature: R.S. Aries, Mane Katz 1894-1962, The Complete Works, vol. I, London, 1970, no. 216 (illustrated p. 65) $9,000-12,000 $12,000-15,000 Moise Kisling

Moise Kisling was a Polish painter. Born in Krakow, Poland, he studied at the School of Fine Arts in Krakow, where he was encouraged to go to Paris, France. In 1910, Kisling moved to Montmartre and a few years later to Montparnasse. At the outbreak of World War I he volunteered for service in the French Foreign Legion, and in 1915 he was seriously wounded in the Battle of the Somme, for which he was awarded French citizenship. Kisling lived and worked in Montparnasse where he was part of the renowned ar- tistic community gathered there at the time. He became a close friend with many of his contemporaries in the School of Paris art movement, including his neighbor, Amedeo Modigliani, who painted him in 1916 (today at the Musee d`Art Moderne). In his atelier one could find during the first two decades of the 20th century a vari- ety of cultural figures, as Andre Derain and the authors Max Jacob and Jean cocteau. As an artist he was acclaimed during his life time both in France as abroad, special- ly in the USA, where he held in 1919 an exhibition at the Whitney Museum in New-York. His style used in painting landscapes is similar to that of Marc chagall, but his unique mastery at depicting flowers and portraits earned him the widest acclaim. He conserved throughout his artistic life an independence from any school or ar- tistic movement, developing a unique style which was free of any conventions but very conscious of the new plastic values which the revolution of 1905-12 heralded. O.M. 129 v

Moise Kisling 1891-1953 (French)

Jeune Breton, 1931 oil on canvas signed lower right 73.50 x 54.50 cm (28 ¾ x 21 ¼ in)

Provenance: Collection Oscar Ghez, Geneve.

Exhibitions: Yamoto Foundation Exhibition, Nara, cat. no. 42. Musee de Lodeve- Retrospective Exhibition, 14th June- 2nd November 2008, no. 42.

Literature: J. Kessel and J. Kisling, Kisling 1891-1953, Torino, 1985, vol. I, 1995, no. XV (illustrated p. 114). Musee de Lodeve- Retrospective exhibition, Exhibition cat. entry no,. 42

A. Modigliani, Boy in Blue $70,000-90,000

Bouquet of Mimosas,1939 sold Sotheby’s TA 1993 $288,500

130

Moise Kisling 1891-1953 (French)

Mimosas, 1936 Mimosas,1942 sold Matsa $276,000 oil on canvas 60 x 73 cm (23 ½ x 28 ½ in) signed lower left

Provenance: Alex Maguy, Paris Private French collection christies-King St., sale 7059 22 June 2005 Private Israeli collection

Grand bouquet de mimosas, 1942 Literature: J. Dutourd & J. Kisling, Kisling 1891-1953, sold chrisie’s NY $483,500 vol. III, Landshut, 1995, no. 121 (illustrated p. 248).

$180,000-220,000

Vase de mimosas, 1950 sold christie’s NY $189,500 Moise Kisling is renowned for his From the 1930s onward, Kisling undertook sev- When compared to similar compositions by his is interested in the texture of the flowers and flower bouquets in which he took great plea- eral pieces featuring mimosas. These gener- contemporaries, Pierre Bonnard and Natalia their tactile quality, endeavouring to pres- sure and for which he is now highly esteemed. ally show a rich bouquet in a simple green Goncharova, Kisling seems to follow a middle ent to the viewer the sensation of the fresh- contemporaries had already noticed his or blue vase on a neutral background. The course between them, adopting a more ac- ness and vitality of these flowers, which he love for this form of art and his fervent assi- earlier works are usually less rich and in small- ademic approach. He takes from Bonnard’s duly accomplishes by a polished technique. duity in the painting of mimosas. ‘His love of er formats. The one in this sale, from 1938, is composition the spatial conception, whereby As Jean Kisling explains- ”The mimosas were flowers led him sometimes to curious techni- a rare example of an early full bouquet in a the flower pot is placed on a simple table in the flowers that gave more work to myfa- cal applications: thus his bouquets of mimo- large format. After years of trial and error, Kis- a limited three-dimensional space, but distils ther. He painted each ball one by one, by sa where each yellow ball is painted in thick ling has managed here to find the right for- it down to its bare essentials - plain walls and rotating the brush quickly generously coat- oil; is a sort of trompe-l'oeil, but conceived mula, where the stunning impression of the small table - concentrating his effort on the ing the color. At the end of the movement, with great finesse and poetry” (Maurice Se- bouquet 's ‘richness’ is perfectly balanced flowers themselves, which are placed square- he readily lifted the hand, which formed rullac, ‘France illustration’, 1935 in- J. Kisling by the serene blue vase and brown back- ly before the viewer through the use of re- a small peak, a very low-relief” (Jean Kils- and J. Dutourd, Kisling, vol. III, 1995, p. 181) ground, both in color and in composition. verse perspective. More like Goncharova, he ing, in- centenaire Kisling, Galerie Dan- iel Malinque, Paris, April-July 1991 no, 42) Oren Migdal

N. Goncharova P. Bonnard, Mimosa, 1915 R. Rubin, Mimosa, 1966 M. chagall, Grand bouquet He painted each ball one by one, by rotating the brush quickly generously coating the color. 131

Moise Kisling 1891-1953 (French)

Roses tremieres, 1939 oil on canvas 73 x 60 cm (28 ½ x 23 ½ in) signed lower left

Provenance: Private collection, Bordeaux, France. Christies London 8 February 2005 lot 329 Private Israeli collection

Literature: J. Dutourd & J. Kisling, Kisling 1891-1953, vol. III, Landshut, 1995, no. 168 (illustrated p. 260).

H. Fantin-Latour, Roses tremieres, 1895 $90,000-120,000 132 v

Moise Kisling 1891-1953 (French)

Jeune fille aux longs cheveux, 1942 oil on canvas 38 x 30 cm (14 ¾ x 11 ¾ in) signed upper right

Provenance: Private collection Santa Fe, NM Private collection New York

Literature: H. Troyat and J. Kisling, Kisling 1891-1953, Torino, 1985, vol. II, no.196 (illustrated p. 150).

$50,000-70,000 133 v

Moise Kisling 1891-1953 (French)

La petite rouquine, 1918 oil on canvas 55 x 38 cm (21 ½ x 14 ¾ in) signed lower left; signed and inscribed on the reverse.

Provenance: Victor and Marguerite Bossuat, Montmorancy. Théodule Bossuat, Paris, by descent from the above in 1945

Literature: J. Dutourd & J. Kisling, Kisling 1891-1953, vol. III, Landshut, 1995, no. 27 (illustrated p. 125).

$60,000-80,000 134 v

Moise Kisling 1892-1968 (French)

Flowers oil on canvas 41 x 33 cm (16 x 12 ¾ in) signed upper right

Provenance: Oscar Ghez Collection, Musee du Petit-Palais, Geneva Private collection, France Exhibitions: Geneva, Musee du Petit-Palais, "Restrospective Moise Kisling", June-October 1972, Geneva. Musee du Petit-Palais, "Chagall, Foujita, Kisling, Picasso et la belle epoque de Montparnasse", June November 1973

$38,000-45,000

135 v

Moise Kisling 1891-1953 (French)

Myriam, 1950 oil on canvas 162 x 97 cm (63 x 37 ¾ in) signed lower right

Provenance: Collection Oscar Ghez, Geneva. Exhibitions- Musee de Lodeve- Retrospective Exhibition, 14th June- 2nd November 2008, no. 61.

Literature: J. Kessel and J. Kisling, Kisling 1891-1953, Torino, 1985, vol. I, 1995, no. XXXI (illustrated p. 130). Musee de Lodeve- Retrospective exhibition, Exhibition cat. entry no,. 61

Timoteo Viti. (1469 – 1523) Italian Renaissance Painting $90,000-120,000

Adolphe. Feder, 1914 Frau, einen Krug tragend,

136 v

Moise Kisling 1891-1953 (French)

I. Ryback, 1916 (detail) "La Traite", 1924 oil on canvas mounted on masonite 100 x 81 cm (39 x 31 ½ in) signed lower left

Provenance: Coll. Maurice Speiser, Philadelphia, USA. Coll. Oscar Ghez, Geneva.

Exhibitions: Geneva, Musee du Petit-Palais, "Retrospective Moise Kisling", June-October 1972, Genveva. Natalia. Goncharova, Sheep shearing, 1907 Nice, Palais de la Mediteraneee, March-April 1973. Musee de Lodeve- Retrospective Exhibition, 14th June- 2nd November 2008, no. 34.

Literature: H. Troyat and J. Kisling, Kisling 1891-1953, Torino, 1982, vol. II, no. XV (illustrated p. 245). Musee de Lodeve- Retrospective exhibition, Exhibition cat. entry no,. 34.

P. Gauguin, Landscape with two Breton women, 1889 $120,000-180,000 137 v

David Davidovich Burljuk (Burliuk) 1882-1967 (Russian, American)

Peasant girl, 1964 oil on board 22 x 12.50 cm (8 ½ x 4 ¾ in) signed lower left, dated lower right

$12,000-15,000

138 v

David Davidovich Burljuk (Burliuk) 1882-1967 (Russian, American)

Flowers in a yellow bowl oil impasto on canvas 50.80 x 40.60 cm (19 ¾ x 15 ¾ in) signed and dated `1928` lower right

Provenance: Artist Al Ross, New York Private collection, Connecticut

$35,000-50,000 139 v 140 v

Constantin Terechkovitch Marcel Dyf 1902-1978 (Russian) 1899-1985 (French)

Overlooking the Mediterranean, 1967 Claudine oil on board oil on canvas 80.40 x 60.60 cm (31 ¼ x 23 ½ in) 73.50 x 60 cm (28 ¾ x 23 ½ in) signed and dated lower right signed lower right

$9,000-12,000 $12,000-18,000 141 v 142 v

Lucien Adrion Charles Camoin 1889-1953 (French) 1879-1965 (French)

Strolling by the seaside Girl reading oil on panel oil on canvas 38 x 55.50 cm (14 ¾ x 21 ½ in) 27.50 x 35 cm (10 ¾ x 13 ¾ in) signed lower right signed lower right

$8,000-12,000 Provenance: Galerie Charpentier, Paris, 1945, no. 741 (old sticker on the back).

$20,000-30,000 143 v

Louis Valtat 1869-1952 (French)

Tulips oil on canvas 55 x 46 cm (21 ½ x 18 in) signed lower right in initials

Provenance: Parke-Bernet Galleries, Inc., New York, New York, 1964 Private collection U.S.A.

This work is recorded in the archives of "L'Association Les Amis de Louis Valtat"

$40,000-60,000 144 v 145 v

Georges Manzana Pissarro Georges Manzana Pissarro 1871-1961 (French) 1871-1961 (French) The descent of the 'annonciade' at Menton Sunset oil on canvas oil on canvas 41 x 66 cm (16 x 25 ¾ in) 38 x 46 cm (14 ¾ x 18 in) signed lower right signed lower right

$14,000-18,000 $16,000-20,000 146 v

Antoni Clave 1913-2005 (Spanish)

Vase with Flowers, 1954 oil on canvas 100 x 82cm (39 1/2 x 32in) signed lower right

Provenance: James Vigeveno Galleries, Ojai, California (according to the label on the reverse)

$150,000-180,000 147 v

Paul aiZPiri b. 1919 (French)

Violinist with white gloves oil on canvas 92 x 60 cm (35 ¾ x 23 ½ in) signed lower right

$70,000-90,000 148 v bernard buffeT 1928-1999 (French)

Still life with pears, 1989 oil on canvas 73 x 54 cm (28 ½ x 21 in) signed upper right, dated upper left Maurice Garnier was kindly confirmed the authenticity of this work

$60,000-80,000 149 v

Bernard Buffet 1928-1999 (French)

Cyclamens dans un pot, 1986 oil on canvas 73 x60cm (28 1/2 x 23 1/2 in) signed center right

$60,000-80,000 151 v 150 v raoul dufy raoul dufy 1877-1953 (French) 1877-1953 (French) Flowers Parrots, 1930 India Ink on paper gouache 75 x 75 cm (29 ¼ x 29 ¼ in) 54 x 41 cm (21 x 16 in) signed lower right in initials

Mrs. Fanny Guillon-Laffaille $5,000-7,000 has kindly confirmed the authenticity of this work.

$12,000-18,000 152 v

Jean dufy 1888-1964 (French)

Montmartre, rue de l'Abreuvoir, 1935-37 watercolor and gouache on paper mounted on canvas 63.30 x 44.50 cm (24 ¾ x 17 ¼ in) signed lower right Jacques Bailly has kindly confirmed the authenticity of the work

$18,000-22,000 153 v

Theo Tobiasse b. 1927 (Israeli, French)

Deux ames et la douceurs d"Israel oil on canvas 100.30 x 80.60 cm (39 x 31½ in) signed upper left, titled upper right

$70,000-90,000 154 v

Theo Tobiasse b. 1927 (Israeli, French)

The Four Sons of the Hagadda oil and mixed media on canvas 130.80 x 162.50 cm (51 x 63 ¼ in) signed upper left

$90,000-120,000 155 v 156 v

Daniel Kafri Theo Tobiasse b. 1945 (Israeli) b. 1927 (Israeli, French)

Flutist Rabbin assis, 1967 bronze oil on canvas 54 x 30 cm (21 x 12 in) 40 x 32 cm (15 ½ x 12 ½ in) signed and numbered 1/8 on base signed upper right

$7,000-9,000 $15,000-20,000 158 v

Joan Miro 1893-1983 (Spanish)

Coquillages de mer, 1969 color lithograph 58/75 77.20 x 112.80 cm (30 x 44 in) signed and numbered

Provenance: Private collection New York

Literature: Printed and published by Maeght, Paris. Mourlot 641

$7,000-9,000

157 v

Joan Miro 1893-1983 (Spanish)

La femme, 1956 lithograph 236/300 signed and numbered 65 x 47.50 cm (25 ½ x 18 ½ in)

Provenance: Private collection New York

Literature: Printed and published by Maeght, Paris.

$6,000-8,000 160 v 159 Auguste Herbin Hans Hinterreiter 1882-1960 (French) 1902-1989 (Swiss) Chaine, 1952 Opus 29, 1951 gouache on paper tempera on paper 35 x 45 cm (13 ½ x 17 ½ in) 25 x 25cm (9 ¾ x 9 ¾ n) inscribed on the reverse signed, titled and dated lower right Provenance: Galerie Melki, Paris $850-1,150 Acquired from the above, 1976

Exhibitions: Museo de Arte Contemporaneo de Caracas, October 1978

This work is a study for the painting reproduced in Geneviève Claisse, Herbin Catalogue Raisonné de l'Ouevre Peint, Paris 1993, no. 1019, p. 461. The authenticity of this work has kindly been confirmed by Madame Geneviève Claisse.

$10,000-12,000 161 v arMan 1928-2005 (French, American)

Violin- unique piece, 1993 bronze with gold patina 70.80 cm (27 ½ in) Inscised 'Arman pièce unique' lower right

Provenance: Opera Gallery, Singapore. Acquired from the above by the present owner.

This work is recorded in the archives of Denyse Durand-Ruel under number 5738. This work is recorded in the Arman Studio Archives New York under number APA#8306.93.004.

$35,000-50,000

162 v

yaaCov agaM b. 1928 (Israeli)

Sound tactile painting, 1964 panel with metal and spring relief, piece unique 81 x 122 cm (31 ½ x 47 ½ in) signed, titled and dated on the reverse Exhibitions: Milwaukee, Wisconsin, Milwaukee Art center, Directions 1: Options, June 21-August 18, 1968.

$60,000-80,000 163 v 164 Arman 1928-2005 (French, American) Brian Kneale b. 1930 (British) 'Liberte' , 1990 collage of rubber stamps on plexiglas, Maquette for Circle mounted on black background Iron Prototype Unique piece 'Commemorating Freedom' 34 cm (13 ¼ in) 45 x 70 cm (17 ½ x 27 ¼ in) signed on the base signed lower right

Provenance: Acquired directly from the artist $1,000-1,500

$9,000-12,000 165 v 166 v

Keith Haring Keith Haring 1958-1990 (American) 1958-1990 (American)

Dancing on the television, 1989 Untitled, 1982 ink on paper ink on paper 21 x 15 cm (8 ¼ x 5 ¾ in) 66 x 51 cm (26 x 20 in) signed and dated lower center signed and dated lower right Provenance-Collection of Robert $8,000-12,000 Dowd, a gift from the artist Private California collection

$8,000-12,000

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The details of this exhibition are published authentic, Matsart will refund money paid for lot (less in the catalogue. expenses) under the condition that confirmation of lack 19. All lots must be paid for and collected not later than 3 of authenticity is received within 30 days of sale. To re- business days following the auction.. move all doubt, following 30 days, Matsart will have no www.artonline.co.il responsibility. INDEX Khokhryakov, Nikolay 101 A Abramovich, Pinchas 58 Kikoine, Michel 124 Adrion, Lucien 141 Kisling, Moise 119, 129, 130, 131, 132, Agam, Yaacov 162 133, 134, 135, 136 Aizpiri, Paul 147 Kneale, Brian 164 Allweil, Arieh 57 Kolnik, Arthur 18 Andre, Albert 111 Kossonogi, Joseph 56 Ardon, Mordecai 38 Kupferman, Moshe 73 Arikha, Avigdor 74, 75 Lanskoy, Andre 122 Arman, 161, 163 L Lavie, Raffi 70 B Bak, Samuel 39, 40, 41 Lellouche, Ofer 76, 77, 78 Benaroya, Albert 88, 93 Levanon, Mordechai 36, 37 Bergner, Yosl 42, 43, 44, 45, 46, 47, 48, Levitan, Isaak Il'ich 102 48A, 49, 50, 51 Loiseau, Gustave 118 Blum, Ludwig 5, 11, 12, 13, 14, 15 Loutchansky, Jacob 83 Bonheur, Auguste Francois 103 M Mairovitch, Zvi 60, 61, 66, 67 Bonheur, Rosa 104, 105 Malnovitzer, Zvi 94, 95 Bonnard, Pierre 110 Manzana Pissarro, Georges 144, 145 Buffet, Bernard 148, 149 Messeg, Aharon 79, 80, 81 Burljuk, David Davidovich 137, 138 Mintchine, Abraham 126 c camoin, charles 142 Miro, Joan 157, 158 cassigneul, Jean Pierre 114 Mokady, Moshe 34 castel, Moshe 30, 31, 32, 62, 63, 64, 65 Muter, Mela 116, 117 chagall, Marc 96 Naton, Avraham 52 charuvi, Shmuel 1, 2, 3 N Nikel, Lea 69, 72 clave, Antoni 146 Paldi, Israel 55 Dufy, Jean 152 P Pann, Abel 6, 7, 8 Dufy, Raoul 112, 150, 151 Pissarro, camille 108 D Dyf, Marcel 140 Pressmane, Joseph 123 Epstein, Henri 125 R Raban, Zeev 10 E Gerstein, David 85 Rembrandt, after 106 Gilboa, Nahum 89, 90 Rubin, Reuven 4, 17, 19, 20, 21, G Ginsburg, Varda 91 22, 23, 24, 25, 26, 27, 28, 29 Guillaumin, Armand 109 S Schatz, Shaul 84 Gutman, Nachum 33 Schloss, Ruth 59 ELISHA KATAN Hambourg, Andre 120 Simon, Yohanan 53, 54 PHOTOGRAPHY Haring, Keith 165, 166 Streichman, Yehezkel 68 [email protected] H Herbin, Auguste 160 Struck, Herman 9 Hinterreiter, Hans 159 Tagger, Sionah 35 T ERIc BRAKHA Israels, Jozef 98, 99, 100 Terechkovitch, constantin 139 DESIGN and GRAPHIcS I Janco, Marcel 16 Tobiasse, Theo 153, 154, 156 Kadishman, Menashe 82 U Ury, Lesser 115 [email protected] J Kafri, Daniel 97, 155 Valadon, Suzanne 113 K Kahana, Aharon 71 V Valtat, Louis 143 BENJAMIN MIZRAHI Katz, Mane 127, 128 Vlaminck, Maurice de 121 PRODUcTION Kemm, Robert 107 Z Zaretsky, Dan 87 [email protected] Kenan, Amos 86 Zohar, Israel 92

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