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Home , Avigdor Stematsky, Buky Schwartz, Claude Renoir, Hugues Claude Pissarro, Joseph Hackmey, Lucien Pissarro

ISRAELI & INTERNATIONAL ART KING DAVID HOTEL JERUSALEM 30 JUNE 2010

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sUMMER AUction isRAEli & intERnAtionAl ARt

KING DAVID HOTEL JERUSALEM WEDnEsDAY 30 JUnE 2010 7:30 PM AUCTION PREVIEW

Preview in Tel Aviv Tel Aviv Hilton Gan Ha'atsmaut, Hayarkon St. 99 Thursday 17 June-Sunday 20 June 2010

Opening reception Thursday June 17, 2010 7:30-10:30 pm

Fri 10 am-5 pm Sat night 9:30 pm – 12 am Sun 10 am – 8 pm

Preview in Jerusalem Matsart Gallery, 21 King David St., Jerusalem Wednesday 23 June- Wednesday 30 June 2010 Wed 6-11 pm Thu 11am-10 pm Fri 10 am-4 pm Sat night 9:30 pm-12 am Sun-Tue 11 am-10 pm Wed 30 June (auction day) 11 am-1 pm Auction 115, 30 June 2010, 7 pm King David Hotel, Jerusalem

Private viewing is available by appointment Online auction: www.artfact.com Online catalogue: www.artonline.co.il

Items marked v are imported and obligated in VAT on the entire sum AUction PREViEW

Preview in tel Aviv tel Aviv Hilton Gan Ha'atsmaut, Hayarkon st. 99 thursday 17 June-sunday 20 June 2010

opening reception thursday June 17, 2010 7:30-10:30 pm

Fri 10 am-5 pm sat night 9:30 pm – 12 am sun 10 am – 8 pm

Preview in Jerusalem Matsart Gallery, 21 King David st., Jerusalem Wednesday 23 June- Wednesday 30 June 2010 Wed 6-11 pm thu 11am-10 pm Fri 10 am-4 pm sat night 9:30 pm-12 am sun-tue 11 am-10 pm Wed 30 June (auction day) 11 am-1 pm Auction 115, 30 June 2010, 7 pm King David Hotel, Jerusalem

Private viewing is available by appointment online auction: www.artfact.com online catalogue: www.artonline.co.il items marked v are imported and obligated in VAt on the entire sum בס”ד

ימי תצוגה

תצוגה מקדימה בתל אביב מלון הילטון תל אביב, גן העצמאות, רח’ הירקון 99 17-20 ביוני 2010 פתיחה רשמית: יום ה’ 22:30 - 19:30 ו’ 17:00 - 10:00 מוצ”ש 24:00 - 21:30 א’ 20:00 - 10:00

תצוגה מקדימה בירושלים גלריה מצארט - לוסיאן קריאף רח' דוד המלך 21, ירושלים 23-30 ביוני 2010 יום ד’ 23:00 - 18:00 ה’ 22:00 - 11:00 ו’ 16:00 - 10:00 מוצ”ש 24:00 - 21:30 א’, ג’ 22:00 - 11:00 יום המכירה 13:00 - 11:00

מצארט - מכירת קיץ מס. 115 יום ד’ 30 ביוני 2010 בשעה 19:30 מלון המלך דוד, ירושלים Online auction at: www.artonline.co.il

פריטים המסומנים v הגיעו מחו”ל וחל עליהם חיוב מע”מ על מלוא הסכום ימי תצוגה

תצוגה מקדימה בתל אביב מלון הילטון תל אביב, גן העצמאות, רח’ הירקון 99 17-20 ביוני 2010 פתיחה רשמית: יום ה‘ 22:30 - 19:30 ו‘ 17:00 - 10:00 מוצ”ש 24:00 - 21:30 א‘ 20:00 - 10:00

תצוגה מקדימה בירושלים גלריה מצארט - לוסיאן קריאף רח' דוד המלך 21, ירושלים 23-30 ביוני 2010 יום ד‘ 23:00 - 18:00 ה‘ 22:00 - 11:00 ו‘ 16:00 - 10:00 מוצ”ש 24:00 - 21:30 א’, ג‘ 22:00 - 11:00 יום המכירה 13:00 - 11:00

מצארט - מכירת קיץ מס. 115 יום ד’ 30 ביוני 2010 בשעה 19:30 מלון המלך דוד, ירושלים Online auction at: www.artonline.co.il

פריטים המסומנים הגיעו מחו”ל וחל עליהם חיוב מע”מ על מלוא הסכום מנהל ובעלים Director and Owner לוסיאן קריאף Lucien Krief

מנכ”ל Executive Director אורי רוזנבך Uri Rosenbach [email protected] [email protected]

מומחים Specialists אורן מגדל Oren Migdal מומחה לאמנות ישראלית Expert Israeli Art [email protected] [email protected]

לוסיאן קריאף Lucien Krief מומחה לאסכולת פריז Expert Ecole de Paris [email protected] [email protected]

שירות לקוחות Client Relations אורי רוזנבך Uri Rosenbach ברברה אפלבאום Barbara Apelbaum [email protected] [email protected]

כספים Client Accounts סטלה קוסטה Stella Costa [email protected] [email protected]

לוגיסטיקה ומשלוחים Logistics and Shipping רייזי גודווין Reizy Goodwin [email protected] [email protected]

MAtsARt AUctionEERs AnD APPRAisERs

21 King David st. JERUsAlEM 94101 isRAEl tel. (including sales room)+972-2-6251049 Fax : +972-2-6257779

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Johannes Jacobus Hilverdink 1837-1884 (Dutch) View of Jerusalem, 1874 oil on canvas 85 x 125 cm (33 x 48¾ in.) signed and dated lower left $100,000-150,000

Millson HUnt 19th century (british) travellers overlooking Jerusalem oil on canvas 31 x 60 cm (12 x 23 ½ in.) signed lower right $10,000-12,000

Millson HUnt 19th century (british) Jerusalem landscape oil on canvas 31 x 60 cm (12 x 23 ½ in.) signed lower right $8,000-10,000 4

HEnRY AnDREW HARPER 1835-1900 (british) Jerusalem, 1893 watercolor and gouache on cardboard 65 x 121 cm (25 ¼ x 47 ¼ in.) signed and dated lower right $28,000-35,000 5

AARon sHAUl scHUR 1864-1945 (israeli) san simon, Jerusalem, 1920 oil on canvas mounted on cardboard 39 x 31 cm (15 ¼ x 12 in.) signed and dated lower right $5,500-7,500

sHMUEl cHARUVi 1897-1965 (israeli) sea landscape, 1920’s oil on canvas mounted on board 49 x 37 cm (19 x 14 ½ in.) signed in English lower left and Hebrew lower right $6,000-8,000 7 sHMUEl cHARUVi 1897-1965 (israeli) Rachel’s tomb, 1920's oil on canvas 14 x 17 cm (5 ½ x 6 ¾ in.) initialled lower right PRoVEnAncE: charuvi family estate, Jerusalem. Private collection, israel $5,000-7,000 8 sHMUEl cHARUVi 1897-1965 (israeli) Red Gladiolus watercolor on paper 33 x 11 cm (13 x 4 ¼ in.) signed lower right $1,500-2,200

9 sHMUEl cHARUVi 1897-1965 (israeli) Jerusalem landscape, 1920’s watercolor on paper 9 x 15 cm (3 ½ x 5 ¾ in.) signed lower right PRoVEnAncE: Mayanot Gallery Jerusalem israel, Private collection $8,000-12,000 10 sHMUEl cHARUVi 1897-1965 (israeli) on the river of babylon watercolor on paper miniature 6 x 9 cm (2 ¼ x 3 ½ in.) $4,000-6,000 11 sHMUEl bEn DAViD 1884- 1927 (israeli) orange Picking, c.1920's gouache on paper 14 x 10 cm (5 ½ x 4 in.) study for embroidery of this subject sold- sotheby's bezalel and israeliana, 11 May 1998, lot. 104. $1,200-1,500 12

sHMUEl cHARUVi 1897-1965 (israeli) View of Jerusalem oil on canvas 32 x 54 cm (12 ½ x 21 in.) signed lower right $3,000-5,000

HERMAnn stRUcK 1876-1944 (German, israeli) bedouin, 1934 watercolor on paper 14 20 x 14 cm (7 ½ x 5 ½ in.) signed and dated lower right AbEl PAnn $1,400-1,800 1883-1963 (israeli, latvian) Jewish boy (from Jerusalem people series) charcoal on paper 35 x 24 cm (13 ½ x 9 ¼ in.) signed lower left $4,000-5,000

ARiE ElcHAnAni study for 'Haotzar' play by shalom Aleichem, Habimah theatre, 1928 gouache on paper 27 x 19 cm (10 ¾ x 7 ½ in.) signed lower right, inscribed on the reverse $1,800-2,200 14

AbEl PAnn 1883-1963 (israeli, latvian) Jewish boy (from Jerusalem people series) charcoal on paper 35 x 24 cm (13 ½ x 9 ¼ in.) signed lower left $4,000-5,000

15 16 ARiE ElcHAnAni boRis scHAtz study for 'Haotzar' play by shalom Aleichem, 1867-1932 (Russian, israeli) Habimah theatre, 1928 gouache on paper Jeremiah (in original embossed copper bezalel frame) 27 x 19 cm (10 ¾ x 7 ½ in.) oil on board 39 x 38 cm (15 ¼ x 14 ¾ in.) signed lower right, inscribed on the reverse Prof. bezalel narkis has confirmed the authenticity of this work $1,800-2,200 $15,000-20,000 17

PincHAs litVinoVsKY 1894-1984 (israeli) bedouin playing the flute, 1920’s watercolor on paper 17 x 22 cm (6 ½ x 8 ½ in.) initialled lower right $4,000-6,000 18

PincHAs litVinoVsKY 1894-1985 (israeli) Figures in Jerusalem, 1925 watercolor on paper 31 x 35 cm (12 x 13 ¾ in.) initialled lower right Accompanied by certificate of authenticity signed by Gideon ofrat $8,000-12,000 19 v

AbEl PAnn 1883-1963 (israeli, latvian) Abel brought of the firstling of his flock (Genesis iV, 2), 1957 pastel on paper mounted on cardboard 58 x 72 cm (22 ½ x 28 in.) signed lower left $26,000-36,000

AbEl PAnn 1883-1963 (israeli, latvian) "..Yuval was the first of those who play the lyre and flute" Gen. 4:21 pastel crayons on cardboard 56 x 78 cm (22 x 30 ½ in.) signed lower right $28,000-36,000 21

REUVEn RUbin 1893-1974 (israeli) les mimosas (spring Flowers), 1964 oil on canvas 80 x 60 cm (31 ½ x 23 ½ in.) signed lower right, titled, dated and inscribed on the stretcher PRoVEnAncE: collection of Mr. and Mrs. leonard cohen, Geneva Gordon Gallery Auction Private collection, israel litERAtURE: “Rubin My life, My Art”, Dr. Haim Gamzu, p. 196 (ill.) carmela Rubin has kindly confirmed the authenticity of this work

$180,000-250,000

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REUVEn RUbin REUVEn RUbin 1893-1974 (israeli) 1893-1974 (israeli) the snake charmer, 1960’s Hassid dancing with torah, c. 1960’s ink and wash on cardboard ink and wash on paper 78 x 53 cm (30 ½ x 20 ¾ in.) 73 x 48 cm (28 ½ x 18 ¾ in.) signed lower left signed lower center carmela Rubin has kindly confirmed carmela Rubin has kindly confirmed the authenticity of this work the authenticity of this work $5,000-7,000 $12,000-15,000

REUVEn RUbin 1893-1974 (israeli) landscape with olive trees, 1960's oil on cnavas 89 x 114 cm (34 ¾ x 44 ½ in.) signed lower left PRoVEnAncE: Engel Gallery Jerusalem private collection carmela Rubin has kindly confirmed the authenticity of this work $180,000-250,000

25 v

REUVEn RUbin 1893-1974 (israeli) 26 v Flute player with family watercolor and ink on paper REUVEn RUbin 61 x 48 cm (23 ¾ x 18 ¾ in.) 1893-1974 (israeli) signed lower left Mixed bouquet, c. 1950 carmela Rubin has kindly confirmed oil on canvas the authenticity of this work 82 x 64cm (32 x 25 in) signed in Hebrew and in English lower left $4,000-6,000 carmela Rubin has kindly confirmed the authenticity of this work $120,000-150,000 26 v

REUVEn RUbin 1893-1974 (israeli) Mixed bouquet, c. 1950 oil on canvas 82 x 64cm (32 x 25 in) signed in Hebrew and in English lower left carmela Rubin has kindly confirmed the authenticity of this work $120,000-150,000

27 v

REUVEn RUbin 1893-1974 (israeli) still life with fruit, 1942 oil on canvas 38 x 46 cm (14 ¾ x 18 in.) signed lower right carmela Rubin has kindly confirmed the authenticity of this work $36,000-50,000 28

REUVEn RUbin 1893-1974 (israeli) spring flowers 1952-1956 oil on canvas 62 x 51 cm (24 x 20 in.) signed lower left, signed titled and dated on the stretcher PRoVEnAncE: Dalzell Hatfield Gallery, los-Angeles, Private collection U.s.A, israel carmela Rubin has kindly confirmed the authenticity of this work $50,000-70,000

Joseph Kossonogi was born in budapest, Hungary in 1908. He acquired his artistic training in berlin and at the Grande chaumiere in Paris. in 1925, already an accomplished painter, he arrived with his family in israel and settled in tel Aviv. From 1929, he exhibited with the avant- garde group Massad, of which he was a founding member, and included among others Avigdor stematsky and Arieh Aroch. in 1930 he had his first one man-show at his private home on bialik street and in 1932 he participated in the famous exhibition of Artists of Eretz israel. His works can be characterized stylistically as belonging to a moderate modernism. While his early works were oils, he became in time better known for his delicate watercolors of israeli landscapes, interiors and scenes of tel Aviv life, in which a romantic outlook of israeli life is presented. in ‘A lady with Flower’ from 1929, one of the early works made in Palestine by the artist, one can sense the strong Parisian influence of his lengthy training period in the city of lights. An unidentified lady is portrayed frontally in a black dress with a yellow flower in hand. the portrait is depicted in a style inspired by Modigliani’s female portraits, the simple-looking figure being delineated by a rounded con- tinuous contour on a neutral background. As for instance in Modigli- ani’s ‘Portrait of a Polish woman’ (1919), the figure in black is set with her arms folded before her body, the hands creating with the flower, the pin and the mandola-shaped eyes a centrally placed axis that gives the figure great stability. Kos- sonogi deviates from Modigliani’s formula in one major aspect, the elongated proportion of the body and particularly the neck of the sitter which he does not adopt. With Modigliani’s formula were acquainted many israeli artist’s of the 1920s, foremost sionah tagger, who excelled in her portraits. the theme of female bourgeois portraits, very popular during the second part of the 1920s and 1930s among artists as diverse as Reuven Rubin, Menachem shemi, Moshe Mokady and Haim Gliksberg (Portrait of Mrs. H, 1927), is given in this artist's art a wide range of expression. both Kossonogi and tagger show a direct and simple approach to the figure portrayed, in a restrained modernism in which the figure is defined through patches of colors, keeping the form complete with a clear distinction between the background and the figure. While tagger, in portraits such as the ‘Girl in Purple Dress’ (1928), goes one step beyond by using a more expressive palette and a decorated background, Kossonogi remains more restrained in his modernism. this serves better his main objective of concentrating on the woman (gray eyes) and particularly on the flower (chry- santhemum) so as to keep with the simplicity of life in the old Yishuv -- an atmosphere of tranquility and innocence that we have lost some time ago. oren Migdal 29 JosEPH KossonoGi 1908-1981 (israeli) A lady with flower, 1929 oil on canvas 81 x 55 cm (31 ½ x 21 ½ in.) signed and dated lower left PRoVEnAncE: Kossonogi Family ExHibitED: Exhibition of israeli Art from the 1920's, tel Aviv Museum, May-november 1982 litERAtURE: ‘the twenties in israeli Art’, tel Aviv Museum, Exhibition catalogue, Arieli Press, 1982’, p. 156-157 (full page photo)., $7,000-9,000 29 JosEPH KossonoGi 1908-1981 (israeli) A lady with flower, 1929 oil on canvas 81 x 55 cm (31 ½ x 21 ½ in.) signed and dated lower left PRoVEnAncE: Kossonogi Family ExHibitED: Exhibition of israeli Art from the 1920's, tel Aviv Museum, May-november 1982 litERAtURE: ‘the twenties in israeli Art’, tel Aviv Museum, Exhibition catalogue, Arieli Press, 1982’, p. 156-157 (full page photo)., $7,000-9,000 Avraham naton was born in Romania in 1903. From 1930 to 1933 he studied in the bucha- rest Art Academy and was active in “zeirei zion”, a zionist youth movement. immigrating to israel in 1935, he first settled in the north of israel and then moved in 1939 to Ramat Gan, where after registering in the Association of Painters and sculptors, he became part of the tel-Aviv artistic milieu. A key figure in the “new Horizons” group of 1948, naton’s style stands out in comparison to other members of the group as Josef zaritzky for its ‘geometrical abstraction’ adhering strictly to form and color. naton’s art can be divided into three distinct periods- his early “israeli Expressionist” style of the 1940s, in which he painted israeli landscapes and portraits; the period from 1948 to 1954 when he became active in the “new-Horizons” group and can be defined as a period of transition to abstract art; and his late abstract paintings from 1954 to 1958. two of the paintings on auction are from the artist’s early ‘Expressionist’ years, before his adherence to the new-Horizons group. ‘the café’ (1934) one of the earliest works of the artist, is still from his years in his native Romania, before his departure for Palestine. Possibly the earliest dated work of the artist known to us today, it was the opening work exhibited in the artist’s retrospective in 2008. the painting depicts the interior of a piano café, where men and women in well cut suits sit around tables drinking, while a singer sings to the sounds of a piano. in this early work, we can detect the artist’s love for natural details, as the chair of the pianist or the open mouth singer who raises his baton at the un-complying crowd. not less important is his use of a decentralized composition, showing the young artist’s belief in his capabilities but foremost the fact that he had learned a major lesson from German expressionist art. by moving the center to the left of the painting one can create more movement and counterbalance denser areas with empty ones, thus focusing our attention on the lady in red sitting alone on the right hand table that by putting her hand on her ear would hint to us that the singer is out of tone oren Migdal .

AVRAHAM nAton 1906-1959 (israeli) concert at cafe, 1939 oil on panel 29 x 23.50 cm (11 ½ x 9 in.) signed and dated lower right PRoVEnAncE: important Private israeli collection litERAtURE: irith Hadar, Avraham naton, tel Aviv Museum of Art, Exhibition catalogue, p. 25 (full page color photograph) ExHibitED: Avraham naton, telAviv Museum of Art, irith Hadar,April-June 2008 $8,000-12,000

AVRAHAM nAton 1906-1959 (israeli) the Yarkon River, 1934 oil on panel 27 x 41 cm (10 ½ x 16 in.) signed and dated lower right PRoVEnAncE: Montefiore Auction House, March 2006 (lot 00139) important Private israeli collection litERAtURE: irith Hadar, Avraham naton, tel Aviv Museum of Art, Exhibition catalogue, p. 40 (full page color photograph) ExHibitED: Avraham naton, telAviv Museum of Art, irith Hadar,April-June 2008 $12,000-15,000 the Yarkon (1943) shows an opening in the Yarkon River, where on a wooded lake are depicted several people in an outing rowing in boats, while several women are watching by the river-side from a cafe. the painting is a typical work of the artist from the early 1940s when as irit Hadar explains in her study of the artist “naton’s works… were characterized by the gradual assimila- tion of a modernist painterly structure… Yet his linger- ing attachment to naturalism, as he gradually moved towards simplification and abstraction… contradicted this and a penchant for the construction of rich, colorful and detailed composition based on observation (still existed)’… (irit Hadar, Avraham naton, tel-Aviv Museum of Art, 2008, pp. 149-150). in the painting one can see the beginning of the use of abstraction in the trees and in the white boat depicted on the far side of the lake, where the details are blurred by the use of larger areas of diffused green color. As we get closer to the viewer the three boats nearer to us and the café are depicted in growing detail, so much so that we can observe a bird perched on the nearest boat or the lovely group of 3 figures with the woman in straw hat and blue dress. the beautifully painted reflection on the lake water to the right completes this scene based on observation, which like irit Hadar says is ultimately based on impressionist painting such as Manet’s painting of ‘Mon- et painting on his boat at Argeunteuil’ (1874) Manet-painting-Monet oren Migdal 31

33 nAcHUM GUtMAn 1898-1980 (israeli) neve tsedek watercolor and gouache on cardboard mounted on canvas 45 x 42 cm (17 ½ x 16 ¼ in.) signed lower right $5,000-7,000 34

ARiEH lUbin 1897-1980 (israeli) View of Giva'at napoleon, Ramat Gan, 1932 oil on canvas 40 x 50 cm (15 ½ x 19 ½ in.) signed on the reverse PRoVEnAncE: collection of s. lubin, beer sheva shulamit lubin, the artist’s daughter, has confirmed the authenticity of this work $7,000-8,000 35 sionAH tAGGER 36 1900-1988 (israeli) Portrait of a young girl ("tzipa") 1920’s HAiM GliKsbERG oil on canvas 1904-1970 (israeli) 30 x 26 cm (11 ¾ x 10 in.) still life with lemons and flowers signed lower right oil on canvas PRoVEnAncE: Estate of the Artist 73 x 61.30 cm (28 ½ x 24 in.) important Private israeli collection. signed lower right litERAtURE: sionah tagger, Masada, 1981 PRoVEnAncE: important private israeli collection (Full page photograph). $3,000-5,000 $18,000-25,000 36

HAiM GliKsbERG 1904-1970 (israeli) still life with lemons and flowers oil on canvas 73 x 61.30 cm (28 ½ x 24 in.) signed lower right PRoVEnAncE: important private israeli collection

$18,000-25,000 37 lUDWiG blUM 1891-1975 (israeli) bouquet of flowers overlooking Jerusalem, 1931 oil on canvas 73 x 60 cm (28 ¾ x 23 ½ in.) signed and dated lower right $12,000-15,000 38 lUDWiG blUM 1891-1975 (israeli) open market of Mea shearim, 1965 oil on canvas signed and dated lower left 26 x 34 cm (10 ¼ x 13 ¼ in.) PRoVEnAncE: Weintraub Galleries new York, UsA $4,000-6,000 39

MEnAHEM sHEMi 1897-1951 (israeli) View of Haifa oil on canvas 37 x 47cm (14 ½ x 18 ½ in) signed lower right Accompagned by certificate of authenticity by Dalia bekine $16,000-22,000

Menachem shemi schmidt lived in Haifa from 1922 till his death in 1951. He would often go out and paint its views, usually those close to his home. in the thirties the family moved to live on the eastern slopes of the carmel which corresponds to the angle of view of the scene in this painting.

During his second visit to Paris, 1937, the artist met the artists of the Jewish population of Paris, Michel Kikoïne, Pin- chus Kremegne and others and they saw him as "an equal amongst peers". the words of his French colleagues, the formal tools that he acquired from his stay there as well as the yearning to paint the landscape of his country using them, led to a series of paintings of the Haifa landscape in an expressive style, in warm colors and by meticulous assembly of the composition. the picture "View of Haifa" is characteristic of a group of works composed so as to divide the canvas into horizon- tal surfaces which create an atmosphere of serenity with the front area being close and the second area giving a feeling of the height of the mountain, the distance of the breakwater, and the ships nearby Dalia belkin

MEnAHEM sHEMi 1897-1951 (israeli) lanscape, 1944 watercolor 12 x 16 cm (4 ¾ x 6 ¼ in) signed lower right Dalia bekine has confirmede the authenticity of this work $3,000-5,0001 41

MEnAHEM sHEMi 1897-1951 (israeli) Washerwomen, 1943 oil on canvas 43 x 53 cm (16 ¾ x 20 ½ in.) signed and dated lower left ExHibitED: Menachem shemi- Retrospective, tel-Aviv Museum and Ein Harod Museum of Art, september- December 2009. litERAtURE: belkine, D., Menachem shemi: Man and Artist, zohar tsvaim Association, 2009, p. 142 (illustrated). $6,000-8,000 42

MEnAHEM sHEMi 1897-1951 (israeli) in the field, 1944 oil on canvas 26 x 35 cm (10 x 13 ½ in.) signed and dated lower right PRoVEnAncE: important israeli private collection ExHibitED: Menachem shemi- Retrospective, tel-Aviv Museum and Ein Harod Museum of Art, september- December 2009. litERAtURE: belkine, D., Menachem shemi: Man and Artist, zohar tzvaim Association, 2009, p.146

$12,000-18,000 43

MEnAHEM sHEMi 1897-1951 (israeli) safed landscape, 1950 oil on canvas 33 x 45 cm (12 ¾ x 17 ½ in.) ExHibitED: Menachem shemi- Retrospective, tel-Aviv Museum and Ein Harod Museum of Art, september- December 2009. litERAtURE: belkine, D., Menachem shemi: Man and Artist, zohar tzvaim Association, 2009, p.182 $16,000-20,000

JosEPH KossonoGi 1908-1981 (israeli) Galilee scenery oil on canvas 73 x116 cm (28 ¾ x 45 ¾ in.) signed lower left PRoVEnAncE: Kossonogi Family collection $6,000-8,000 scenery in Galilee’ from the 1960s, is a rare large scale landscape oil painting by the artist. in it we can identify Kossonogi’s trade-mark style known to the viewer from his watercolors- dreamy romantic landscapes in which people and view blend perfectly together through a soft and pleasant palette. in a wide angled view of a val- ley in upper Galilee, we can discern three oriental women with vases on their head looking out towards a street in the crowded village of Akbra near safed. Kossonogi who as many other israeli artist at the time had a studio in safed, traveled widely in the northern part of israel, and was much impressed by the towering figures of Arab women who carefully balanced vases on their head. As with other artists such as Moshe castel, this theme became an important part of their art. the figures with vases indicate both the connection of man to nature and his need to adapt to the rhythm of nature and not to that of the city. the romantic-like scenery, seen as through a haze, emphasizes the loss of man’s true rhythm and his need to find a new one in nature; the slow descent of the woman gives him the right measure. this important work remained in the artist’s collection until his death. After his death it was mysteriously removed from his home in safed, but found 2 years later and returned to the family. the watercolor “independence Day on the Yarkon River, 1948’ is a work of historic importance because it was drawn a few days after the declaration of independence of the state of israel. the Yarkon, which was at the center of daily life in the new city of tel Aviv, was decorated with thousands of flags for the important festival day and the citizens celebrated the occasion by sailing on the river wa- ters. the happy atmosphere is rendered in detail; the painter shows in joyful colors the flags and the ships. oren Migdal

JosEPH KossonoGi 1908-1981 (israeli) the first independence Day at Hayarkon River tel Aviv, 1948 watercolor on paper 33 x 47 cm (12 ¾ x 18 ½ in.) signed and dated lower left $1,200-1,500 46

MoRDEcHAi lEVAnon 1901-1968 (israeli) safed, 1940’s oil on canvas 44 x 30 cm (17 x 11 ¾ in.) signed lower right $4,500-6,500 47 sHloMo nARinsKi (nARoni) 1885-1960 (israeli) Abstract landscape, 1940s oil on canvas 65 x 54 cm (25 ¼ x 21 in.) signed lower left $2,500-3,500 48

MoRDEcHAi lEVAnon 1901-1968 (israeli) lag ba'omer at Mount Meron, 1945 oil on canvas 64 x 75 cm (25 x 29 ¼ in.) signed and dated center right $18,000-25,000

Mordechai Levanon 1901-1968 (Israeli) View of Safed oil on canvas 74 x 54 cm (28 ¾ x 21 in.) signed lower right $5,500-7,500 50

Arieh Allweil 1901-1967 (Israeli) Galilee landscape oil on paper mounted on masonite 65 x 50 cm (25 ½ x19 ½ in.) signed lower left $5,000-7,000 51

ARiEH lUbin 1897-1980 (israeli) safed synagogue interior watercolor and pencil on paper 69 x 49 cm (27 x 19 in.) signed lower right PRoVEnAncE: important Private israeli collection $2,000-4,000 52

AARon DEJEz 20th century (israeli) tiberias- Rabbi Meir baal Hanes, 1920 oil on masonite 66 x 79 cm (25 ¾ x 30 ¾ in.) signed lower right $10,000-12,000

Recent decades have brought us to encounter a mere handful of his paintings from the twenties, but each such encounter was moving and unforgettable: the tel Aviv avenue with the camel resting under the sycamore tree- in a painting from the late twenties (for- merly in the Moshe Gur-Arie collection); the landscape depicting a hill strewn with houses with a couple of sycamores in the foreground and to the right a miniature of a figure on a donkey-a painting from the same period (from the Yaakov schwartz collection); and the broad track leading to a village (in the vicinity of Jerusalem, Ein Karem apparently) with the large tree in the foreground, and again on the right, the tiny figure of a donkey. the artist signed the first two in Hebrew (Deutsch); the third is signed in latin letters Daja. Who then was Aharon M. Deutsch this fine but forgotten artist? born in breslau, the year of his arrival in the country unknown, he was among the first generation of students at the studio of Yitzchak Frankel, which he attended in 1926-1927. in september 1927, when he exhibited his work along with fifteen of the studio's graduates at the Herzliya high school in tel Aviv, his talent stood out. the reviewer for "theatre and Art" wrote: Deutsch succeeds, being realistic and uncomplicated…" A year later, he was already recognized as a prominent figure among the generation of young modernists. in April he went on show at the sev- enth exhibition of the "Hebrew Artists' Association" held in tel Aviv; he even sold a painting entitled "street in the old city". We hear of him yet again in 1932 when, along with Yosef zaritsky and Menachem schmidt (shemi), he was among the founders of "Modern Artists Group". From then on, he vanished as though the earth had swallowed him up. He did not feature in the tel Aviv Museum, at the Eastern trade Fair nor at any other exhibition. so far, the reason has not become apparent. A watercolor of his dating from 1935 on the theme of the landscape around the seven Mills indicates that he was in tel Aviv at the time… With his warm brush, Aharon Deutsch internalized the israeli naiveté evident in the paintings of Rubin, Gutman and the early local painters; he offers charming views of a rural ur- banism that unites civilization and nature in calm, idyllic harmony. His Palestinian paintings feature a formula comprising a large tree in the foreground, from where the eye is drawn to a broad track (with a small camel or donkey to the right) leading towards small red- tiled houses engulfed in greenery. A touch of orientalism in the beasts, the "childish" look of the houses, the sky perpetually spring-like, the all-embracing tranquility, the flourishing greenery surrounding the community- all combine to assure the observer of the gentle, primordial charm of a good land. Primitivism arising out of the design of the landscape elements, warm tones rich and floral dominating most of the canvas, the soft undulation of "paternal" tree branches, a canvas overflowing with color-all contribute to the pleasing intensity of the representation. Deutsch's charming paintings open up to us a broad path that beckons to us to enjoy the hospitality of a place that is a paradise, somewhere between Europe and the Middle East. the rarity of his paintings leave us yearning for more, urging us to uncover them wherever they may be concealed. Gideon ofrat 53

Ephraim Kaete Marcus 1892-1970 (Israeli) Tiberias port oil on masonite 54 42 x 56 cm (16 ¼ x 21 ¾ in.) signed lower right Shmuel Schlesinger PROVENANCE: Private collection Tel Aviv 1896-1986 (Israeli) Mr. Udi Marom, the artist’s grandson, View of Tiberias town has kindly confirmed oil on canvas the authenticity of this work 61 x 38 cm (23 ¾ x 14 ¾ in.) signed lower right $4,000-6,000 $6,000-10,000

55 v

Ludwig Blum 1891-1975 (Israeli) Panorama of Jerusalem, 1951 oil on canvas 60 x 100 cm (23 ½ x 39 in.) signed and dated in Hebrew lower right signed in English lower left $38,000-50,000

56 lUDWiG blUM 1891-1975 (israeli) Jerusalem at dawn, 1966 oil on canvas 50 x 73 cm (19 ½ x 28 ½ in.) signed and dated lower right $28,000-35,000

57 lUDWiG blUM 1891-1975 (israeli) nazareth, 1958 oil on canvas 61 x 45 cm (23 ¾ x 17 ½ in.) signed and dated lower right $12,000-18,000

58 lUDWiG blUM 1891-1975 (israeli) copper industry, timna, 1957 oil on canvas 73 x 117 cm (28 ½ x 45 ½ in.) signed and dated lower left $45,000-55,000

59 v nAcHUM GUtMAn 1898-1980 (israeli) Figure and donkey in a grove, 1952 oil on canvas 73 x 92 cm (28 ½ x 35 ¾ in.) signed and dated lower right Accompanied by a certificate of authenticity from the nachum Gutman Museum, signed by Prof. M. Gutman, the artist's son. $38,000-45,000 60 nAcHUM GUtMAn 1898-1980 (israeli) Artist in landscape with tree oil on canvas 50 x 60 cm (19 ½ x 23 ¼ in.) signed lower right PRoVEnAncE: Rosenfeld Gallery collection Property of a distinguished israeli gentleman $50,000-65,000

two paintings on auction belong to naton’s years in the new-Ho- rizons group and were undertaken in naton’s typical cubist lyrical style. ‘the orchestra’, the earliest of these shows a chamber orchestra in full swing. this motif was greatly liked by the artist, whom as irit Hadar justly observes, undertook several drawings of the theme (Ha- dar, naton, page 73 (2 drawings). these drawings show a common denominator. While the musicians are depicted as individual figures each having a distinctive character; they are united in their music making by sharp cubist fragmented lines. in the painting on auction the musicians are harmonized by their checkered suits and through their musical instruments- the red cello at the center linking the right part of the composition to the theme through the red colored violin and music stand, while the ochre clarinet at the center links the drum to the left. light is also a unifying element in this delicately knotted composition, a cubist rectangular opening at the center lights up in an uneven light, the hand of the cellist, the arch of the violinist and the music sheet. While compositional and musical harmony is a major theme, it is the lyricism in which the actors faces as well as their swaying bodies are modeled, that gives the tone to the painting. these joined together with little details as the beautiful grey rectangle with red lines on the left, play a major role in establishing what one may call a lyrical composition or is it actually a musical score with cold and warmer gradu- ations that slowly grows up on you from the bottom upwards as the rhythm of the Jazz band gradually picks up. oren Migdal

AVRAHAM nAton 1906-1959 (israeli) the orchestra, 1967 oil on canvas 39 x 50 cm (15 ¼ x 19 ½ in.) signed upper right PRoVEnAncE: the Phenix collection Art Gallery international, Florida, UsA ExHibitions: “the Whole World is a stage”, tel Aviv Museum of Art, september 1998 Joseph Hackmey-israel Phoenix collection, tel Aviv Museum of Art, Pof. Mordechai omer, november 1998 Avraham naton, tel Aviv Museum of Art, irith Hadar, April-June 2008 $15,000-20,000 62

AVRAHAM nAton 1906-1959 (israeli) clown, 1955 oil on canvas 93 x 60 cm (36 ¼ x 23 ½ in.) signed and dated in English upper right, signed in Hebrew lower left PRoVEnAncE: important israeli private collection litERAtURE: ‘Avraham naton’, editor Avigdor luisada, Untied Artist’s ltd., tel-Aviv, 1969 (full page colored photograph). $30,000-50,000 the second painting, undertaken while active in the new-horizons group shows another of the artist’s favorite motifs- clowns. it depicts a clown with a bow-tie balancing two colored balls on the tips of his fingers. Possibly because of its subject matter the clown is painted in brighter colors than ‘the orchestra’. in comparison to this latter painting, the cubist character of the painting is here more accentuated - the colored rectangles, triangles and circles creating a composition similar to that of the artist’s abstract compositions of this period. in these are balanced larger and smaller colored areas in different intensity of colors and textures so as to create a correspondence between voids and more densely populated colored areas. naton would seem to ‘play’ in the painting in auction with the concept of ‘balance’, the circus clown balancing the balls as the artist balances the colors on the painting board. behind this idea is the age old aesthetic concept that art follows nature. the idea would seem to stem in naton’s art from Picasso’s paintings of acrobats, an idea already developed in Picasso’s early painting ‘Acrobat on a ball’ (1905), but which will can be fully seen in his later works depicting clowns. closer to naton in style would be such works as Robert Delaunay’s ‘Flamenco’, here we find a more lyrical tone in line with this artist’s art, and also the key to understanding our painting. As Delaunay, naton is looking not so much to depict nature in the act of the clown but to see the clown as an ‘ape of nature’. As the clown, the artist would be an imitator of nature and the abstract composition created in a ‘natural process’, as natural as to the acrobat would be to balance balls on the tip of his fingers. oren Migdal

acrobat-on-a-ball Picasso harlequin Delaunay.flamenco2 naton, clown, 1955 Picasso-1905 with mask2 oren Migdal

naton, clown, 1955

MARcEl JAnco 1895-1984 (israeli) Untitled oil and collage on canvas 60 x 80 cm (23 ¼ x 31 ¼ in.) signed lower left PRoVEnAncE: Private israeli collection $18,000-25,000 64

MARcEl JAnco 1895-1984 (israeli) two figures, 1951 oil on canvas board 46 x 55 cm (18 x 21 ½ in.) signed lower left, signed and dated on the reverse PRoVEnAncE: Rosenfeld Gallery Private collection israel $12,000-15,000

MARcEl JAnco 1895-1984 (israeli) Don Quixote, 1960 oil on board 40 x 54 cm (15 ½ x 21 in.) signed lower right PRoVEnAncE: Rosenfeld Gallery Private collection $6,000-8,000 67

sHMUEl scHlEsinGER 66 1896-1986 (israeli) three doves MARcEl JAnco oil on canvas 1895-1984 (israeli) 73 x 63 cm (28 ½ x 24 ½ in.) signed lower right still life with bananas oil on canvas board $6,500-9,500 35 x 50 cm (13 ½ x 19 ½ in.) signed lower right PRoVEnAncE: Rosenfeld Gallery $4,000-5,000

Marcel Janco 1895-1984 (Israeli) Untitled oil on canvas board mounted on board 35x 51 cm (14 x 20 in.) signed lower right PROVENANCE: Rosenfeld Gallery Private Israeli collection $4,500-6,000 69

Marcel Janco 1895-1984 (Israeli) Ma chevre blanche, 1949 oil on cardboard 35 x 50 cm (13 ½ x 19 ½ in.) signed lower left, titled and dated on the reverse PROVENANCE: Rosenfeld Gallery Private Israeli collection

$7,000-9,000

MosHE MoKADY 1902-1975 (israeli) Figure oil on canvas 70 100 x 80 cm (39 x 31 in.) signed upper center MosHE MoKADY PRoVEnAncE: Private israeli collection 1902-1975 (israeli) $28,000-36,000 Abstract landscape oil on canvas 80 x 99 cm (31 ¼ x 38 ½ in.) signed lower right PRoVEnAncE: Private collection, Massachusetts $6,000-8,000 71

MosHE MoKADY 1902-1975 (israeli) Figure oil on canvas 100 x 80 cm (39 x 31 in.) signed upper center PRoVEnAncE: Private israeli collection $28,000-36,000 72

AbRAHAM nEWMAnn 1873-1942 (Polish) shtetl in Poland oil on canvas 48 x 59 cm (18 ¾ x 23 in.) signed lower left $5,000-7,000 73

AHARon KAHAnA 1905-1967 (israeli) Portrait of a boy, 1938 oil on canvas, Rare 60 x 80 cm (23 ½ x 31 ¼ in.) signed and dated upper left $8,000-12,000 75

AHARon KAHAnA 1905-1967 (israeli) Abstract composition, 1957 oil on canvas 46 x 38 cm (18 x 15 in.) 74 signed and dated lower right $5,000-7,000 AHARon KAHAnA 1905-1967 (israeli) Abstract composition, 1958 76 oil on canvas 55 x 33 cm (21 ½ x 12 ¾ in.) AHARon KAHAnA signed and dated lower left 1905-1967 (israeli) $5,000-7,000 Planete bleu, 1957 oil on canvas 73 x 60 cm (28 ½ x 23 ½ in.) signed and dated lower left, signed, titled and dated on the reverse $8,000-12,000

77 v

AHARon KAHAnA 1905-1967 (israeli) composition (Men in a tent), 1947 oil on canvas 73 x 92 cm (28 ½ x 35 ¾ in.) signed and dated lower right PRoVEnAncE: Private collection $28,000-36,000

P.Picasso, barcelona Museum 78

MosHE cAstEl 1909-1991 (israeli) tehilim gouche on paper mounted on canvas 20 x 52 cm (7 ¾ x 20 ¼ in.) signed lower right $6,000-8,000

80 v

MosHE cAstEl 1909-1991 (israeli) 79 Manuscript, 1972 osHE AstEl basalt mounted on canvas M c 99 x 81 cm (38 ½ x 31 ½ in.) 1909-1991 (israeli) signed lower right , Manuscript signed and dated on the reverse basalt and mixed media mounted on canvas PRoVEnAncE: Property of a private 40 x 30 cm (15 ½ x 11 ¾ in.) European collector signed on the reverse $26,000-36,000 $3,000-5,000 80 v

MosHE cAstEl 1909-1991 (israeli) Manuscript, 1972 basalt mounted on canvas 99 x 81 cm (38 ½ x 31 ½ in.) signed lower right , signed and dated on the reverse PRoVEnAncE: Property of a private European collector $26,000-36,000 81

ARiEH lUbin 1897-1980 (israeli) nargila smoker oil on canvas 50 x 61 cm (19 ½ x 24 in.) signed lower left $8,000-12,000 82

ARiEH lUbin 1897-1980 (israeli) nargila smokers,1920’s oil on canvas 54 x 65 cm (21 x 25 in.) signed on the reverse $15,000-20,000

Arieh Lubin 1897-1980 (Israeli) Nargila smokers oil on canvas 54 x 73 cm (21 x 28 ½ in.) signed upper left PROVENANCE: Rosenfeld Gallery Private collection $14,000-18,000 84

YAAcoV EisEnscHER 1896-1980 (israeli) Village houses in Galilee oil on canvas 46 x 82 cm (18 x 32 in.) signed lower right $6,500-8,000 85

YAAcoV EisEnscHER 1896-1980 (israeli) Ein Karem oil on canvas 61 x 50 cm (23 ¾ x 19 ½ in.) signed, titled on the reverse $5,500-7,000

86 zVi MAiRoVitcH 1911-1974 (israeli) Port of Haifa oil on panel 50 x 63 cm (19 ½ x 24 ¾ in.) signed lower right $3,500-5,000 87

YAAcoV EisEnscHER 1896-1980 (israeli) Houses in Jerusalem oil on canvas 46 x 61 cm (18 x 23 ¾ in.) signed lower right $2,500-3,000

YAAcoV EisEnscHER 1896-1980 (israeli) old city, Jerusalem oil on canvas 46 x 56 cm (18 x 21 ¾ in.) signed lower right $2,500-3,500

YAAcoV EisEnscHER 1896-1980 (israeli) the old city Gate, Jerusalem oil on canvas 81 x 65 cm (31 ¾ x 25 ¼ in.) signed lower right $6,000-9,000 87

YAAcoV EisEnscHER 1896-1980 (israeli) Houses in Jerusalem oil on canvas 46 x 61 cm (18 x 23 ¾ in.) signed lower right $2,500-3,000

YAAcoV EisEnscHER 1896-1980 (israeli) old city, Jerusalem oil on canvas 46 x 56 cm (18 x 21 ¾ in.) signed lower right $2,500-3,500

YAAcoV EisEnscHER 1896-1980 (israeli) the old city Gate, Jerusalem oil on canvas 81 x 65 cm (31 ¾ x 25 ¼ in.) signed lower right $6,000-9,000 90

PincHAs litVinoVsKY 1894-1984 (israeli) 91 Untitled oil on canvas incHAs itVinoVsKY 124 x 124 cm (48 x 48 in.) P l 1894-1984 (israeli) signed lower right PRoVEnAncE: the artist’s estate two seated men oil on canvas $5,000-8,000 130 x 97 cm (51 x 38 in.) signed on the reverse PRoVEnAncE: the artist’s estate $6,000-10,000

Yohanan simon symbolizes in israeli art the “kibbutz artist” portraying Kibbutz life and its pioneering ideology based upon zionism and the Marxist revolution. As tali tamir has shown in her study of the artist, this description of simon is far from complete both because the artist was critical of the austerity and ‘petit bourgeois mentality’ that took hold of Kibbutz life and because he kept an independent and openly critical view towards social-realistic art. simon was born in berlin in 1905 and received his artistic training in two major artistic cen- ters; under Max berckman in Frankfurt and later in Paris with Andre Derain. His two major influences were French painting and the murals of Diego Rivera which he saw in new York in 1934. in 1936 he arrived in israel and settled in Kibbutz Gan shmuel sympathizing with the socialist ideology of the Kibbutz. the painting on auction which depicts workers in a building site, shows the deeply set admiration simon had for laborers and the kibbutz working ethic at the beginning of his career. “simon sensed the near-religious attitude of pioneering culture toward the value of labor giving it profound expression in his paintings. the scenes of work in the field thus accentuated virile physical- ity, while the ‘courtyard’ scenes focused on the atmosphere of bustle and constant motion in the kibbutz commune”.(tali tamir, Yohanan simon Dual Portrait, exhibition catalogue, tel Aviv museum of Art, 2001, pp. 283). in the painting one can discern the strong influence that the murals of Diego Rivera exerted on the artist. the monumen- tal figures of the virile workers portrayed close to the picture plane, the emphasis on the physical work and the machine in the back are clearly aimed at soliciting our sympathy for the “common cause” of

constructing the newly found state. oren Migdal

YoHAnAn siMon 1905-1976 (israeli) Kibbutz workers, 1950 oil on masonite 40 x 35 cm (15 ½ x 13 ½ in.) signed and dated lower right $25,000-30,000 oren Migdal 93

YoHAnAn siMon 1905-1976 (israeli) Herzliya landscape, 1964 oil on canvas 33 x 41 cm (12 ¾ x 16 in.) signed in English lower left, signed & dated in Hebrew lower right, titled on the reverse $4,500-6,000

YoHAnAn siMon 1905-1976 (israeli) Fantastic landscape, 1966 oil on canvas 27 x 35 cm (10 ¾ x 13 ½ in.) signed in English lower left, signed & dated in Hebrew lower right $4,000-6,000 93

YoHAnAn siMon 1905-1976 (israeli) Fantastic landscape, 1966 oil on canvas 27 x 35 cm (10 ¾ x 13 ½ in.) signed in English lower left, signed & dated in Hebrew lower right $4,000-6,000

YoHAnAn siMon 1905-1976 (israeli) View of the kibbutz through a window oil on canvas 27 x 35 cm (10 ½ x 13 ½ in.) signed in Hebrew lower right, signed in English lower left $15,000-20,000 96

YoHAnAn siMon 1905-1976 (israeli) surrealist landscape oil and gouache on paper collage mounted on canvas 30 x 130 cm (11 ¾ x 50 ¾ in.) signed in Hebrew lower right, signed in English lower left PRoVEnAncE: Rosenfeld Gallery Private israeli collection

$8,000-12,000

YoHAnAn siMon 1905-1976 (israeli) Fantastic landscape, 1970 oil on canvas 16 x 22 cm (6 ½ x 8 ¾ in.) signed and dated in Hebrew lower right signed in English lower left, $3,000-5,000

YoHAnAn siMon 1905-1976 (israeli) Fantastic landscape at night oil on canvas mounted on masonite 33 x 46 cm (12 ¾ x 18 in.) signed in English lower left, signed in Hebrew lower right PRoVEnAncE: Private collection, new York

$6,000-8,000 97

YoHAnAn siMon 1905-1976 (israeli) Fantastic landscape, 1970 oil on canvas 16 x 22 cm (6 ½ x 8 ¾ in.) signed and dated in Hebrew lower right signed in English lower left, $3,000-5,000

YoHAnAn siMon 1905-1976 (israeli) the twittering tree, 1965 oil on canvas 33 x 41 cm (12 ¾ x 16 in.) signed and dated in Hebrew lower right, signed and titled on the reverse $4,500-6,000 100

YoHAnAn siMon 1905-1976 (israeli) Watering the negev, 1965 oil on canvas 77 x 104 cm (30 ¼ x 40 ½ in.) signed in English lower left, signed and dated in Hebrew lower right, titled (label) on the reverse PRoVEnAncE: Rosenfeld Gallery Private collection

$35,000-50,000

101

RUtH scHloss b. 1922 (israeli) Portrait of a man with moustache gouache on cardboard 58 x 41 cm (22 ½ x 16 in.) signed in Hebrew lower left , signed in English lower right $1,700-2,000

102

RUtH scHloss b. 1922 (israeli) Ma'abarot oil on panel 30 x 40 cm (11 ¾ x 15 ½ in.) signed in Hebrew lower right signed in English lower left

$2,800-3,600 101

RUtH scHloss b. 1922 (israeli) Portrait of a man with moustache gouache on cardboard 58 x 41 cm (22 ½ x 16 in.) signed in Hebrew lower left , signed in English lower right $1,700-2,000

103

RUtH scHloss b. 1922 (israeli) Portrait of a girl oil on canvas board 29 x 22 cm (11 ¼ x 8 ½ in.) signed in Hebrew lower right signed in English lower left, PRoVEnAncE: Rosenfeld Gallery Private collection

$2,000-3,000

104 sAMUEl bAK b. 1933 (israeli) still life with three red bottles, 1978 oil on canvas 60 x 60 cm (23 ½ x 23 ½ in.) signed lower left PRoVEnAncE: levy Gallery, Hamburg, Germany Private collection, israel ExHibitED: Art 78, Munich, Germany $8,000-12,000

105 sAMUEl bAK b. 1933 (israeli) space, 1973 pencil and pastel on cardboard mounted on panel 23 x 31 cm (9 x 12 in.) signed and dated lower right $2,500-3,000 106

Yosl bERGnER 107 b. 1920 (israeli) An apple in heaven, 1981 nAFAtAli bEzEM oil on canvas b. 1924 (israeli) 27 x 22 cm (10 ½ x 8 ½ in.) signed lower right, Woman blessing shabbat candles signed,dated and titled on the reverse oil on wood sculpture 49 x 28x 10 cm (19 x 11 x 3 ¾ in.) $3,500-5,000 signed lower right $3,000-4,500

108

Yosl bERGnER b. 1920 (israeli) Family toys oil on canvas 40 x 30 cm (15 ½ x 11 ¾ in.) signed lower right signed and titled on the reverse $6,000-8,000 109

Yosl bERGnER b. 1920 (israeli) Flying utensils oil on canvas 50 x 73 cm (19 ½ x 28 ½ in.) signed lower left $8,000-12,000 110

Yosl bERGnER b. 1920 (israeli) Fiddler in the winter oil on canvas 50 x 40 cm (19 ½ x 15 ½ in.) signed lower right, signed and titled on the reverse $8,000-12,000 111

Yosl bERGnER b. 1920 (israeli) Girl with purple flower oil on canvas 65 x 40 cm (25 ¼ x 15 ½ in.) signed lower right, signed and titled on the reverse $8,000-12,000

112

Yosl bERGnER b. 1920 (israeli) two bouquets oil on canvas board 30 x 25 cm (12 x 9 ¾ in.) signed lower right and again on the reverse $2,500-3,500 111

Yosl bERGnER b. 1920 (israeli) Girl with purple flower oil on canvas 65 x 40 cm (25 ¼ x 15 ½ in.) signed lower right, signed and titled on the reverse $8,000-12,000

113

Yosl bERGnER b. 1920 (israeli) still life with little clown oil on canvas 50 x 70 cm (19 ½ x 27 ¼ in.) signed lower left, signed and titled on the reverse $12,000-15,000 114

Yosl Bergner b. 1920 (Israeli) The train oil on canvas 40 x 50 cm (15 ½ x 19 ½ in.) signed lower right, signed and titled on the reverse $5,000-7,000

115

Yosl Bergner b. 1920 (Israeli) Red flowers oil on canvas 30 x 40 cm (11 ¾ x 15 ½ in.) signed lower right, signed and titled on the reverse $2,500-3,500 114

Yosl Bergner b. 1920 (Israeli) The train oil on canvas 40 x 50 cm (15 ½ x 19 ½ in.) signed lower right, signed and titled on the reverse $5,000-7,000

115 116 Yosl Bergner b. 1920 (Israeli) Yosl Bergner Red flowers b. 1920 (Israeli) oil on canvas Three klezmers 30 x 40 cm (11 ¾ x 15 ½ in.) oil on paper mounted on canvas signed lower right, 47 x 57 cm (18 ¼ x 22 ¼ in.) signed and titled on the reverse signed lower right, signed and dated on the reverse $2,500-3,500 $9,000-12,000 117

Yosl Bergner b. 1920 (Israeli) Violonist oil on canvas 40 x 30 cm (15 ½ x 11 ¾ in.) signed lower right $7,000-9,000

118

Yosl Bergner b. 1920 (Israeli) Memory oil on canvas 40 x 50 cm (15 ½ x 19 ½ in.) signed lower left, signed and titled on the reverse $5,000-7,000 118 119 Yosl Bergner b. 1920 (Israeli) Yosl Bergner b. 1920 (Israeli) Memory oil on canvas Last kiosk on Tel Aviv beach 40 x 50 cm (15 ½ x 19 ½ in.) oil on canvas signed lower left, 30 x 40 cm (11 ¾ x 15 ½ in.) signed and titled on the reverse signed lower left, signed and titled on the reverse $5,000-7,000 $8,000-12,000 120

Yosl bERGnER 121 b. 1920 (israeli) still life, 1955 Yosl bERGnER oil on canvas mounted on masonite b. 1920 (israeli) 39 x 30 cm (15 ¼ x 11 ¾ in.) Yellow desert, 1961 signed and dated upper right, oil on canvas inscribed in Yiddish 130 x 100 cm (50 ¾ x 39 in.) "to zalman my friend, from Yosl, 1955" signed and dated lower left, $4,000-6,000 titled on the reverse PRoVEnAncE: Rosenfeld collection $10,000-15,000 121

Yosl bERGnER b. 1920 (israeli) Yellow desert, 1961 oil on canvas 130 x 100 cm (50 ¾ x 39 in.) signed and dated lower left, titled on the reverse PRoVEnAncE: Rosenfeld collection $10,000-15,000 122 v

MoRDEcAi ARDon 1896-1992 (israeli) Movement oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed lower right PRoVEnAncE: Property of a private European collector litERAtURE: M. Vishny, Mordecai Ardon, new York, 1973, p. 233, no. 272 (illustrated, p. 203, pl. 193; with incorrect dimensions and medium). $150,000-200,000

Mordechai Ardon was born in Poland in 1896. between 1921 and 1924 he studied in the bauhaus Art school in Weimer, whose style was to remain his main artistic influence. Upon immigration to israel in 1933, he became an influential figure in israeli art both as a teacher in the bezalel Art Academy and as an independent artistic voice. As such, he was a promoter of colorism and pure art devoid of any political or social message. His art was a singular mix- ture of modernist art theory suffused with an intense spirituality, that some have la- beled as a revolt or confrontation with ‘the unknown’. in his introduction to landscapes in the work of Ardon, Michele Vishny writes that “…llandscapes form the major portion of Ar- don’s oeuvre and are a vehicle of his rich coloristic vision” (Vishney, Mordecai Ardon, new- York, p. 47) Ardon’s commitment to the israeli landscape has a double or even a triple matrix- his strong link to Jewish and israeli history, his love of the physical landscape of israel (particularly of Jerusalem and the Judean Hills) and a mystical or even kabalistic outlook at natural phenomena. From this triple matrix comes his constant output of landscapes throughout his life and a rich variety of symbolical subjects which are presented through them as well as israeli views at different times of day and night. (Arturo schwartz, Mordecai Ardon: the colors of time, israel Museum, 2003, pp.26-33) the work on auction belongs to the latter part of the artist’s oeuvre. it shows an abstract landscape probably of the Judean Mountains in a red sunset. the motif already depicted in sunset 1965-66 is picked up here in a new way which is more abstract in origin and would seem to put emphasize on movement (as the title of the work proposes) and on effects of light. As Ruth Apter Gabriel notes in her article from 2003, from the mid 1960s a slow process of abstraction takes place in Ardon’s landscapes, breaking through the boundaries of the real landscape to find new meanings. this tendency is strengthened in the 1970s when, “... the tendency to eliminate the boundaries and unify the terrestrial and the celestial - in an attempt to reach an infinite and universal world - becomes increasingly pronounced... in the following years, Ardon continued to use luminous colors and intricate surface textures, while his landscape views seem to become more infinite, expanding into eternity.” (Ruth Apter Gabriel, Mordechai Ardon landscapes of infinity, the israel Museum, Jeru- salem, 2003). Avram Kampf points to the stylistic components of these landscapes and to their sources “…the light of the sky and its scintillating reflections on the ground play a major role. they are all carefully crafted in the bauhaus tradition and occupy a place somewhere between objectivity and abstraction. Although the painting seems to have originated in a perceived landscape, it is an organic self-contained composition. loose- ly-grouped, random forms in the sky are echoed by brightly-colored rectangular forms grouped…in the lower part of the canvas. illusionistic pictorial depth is not abandoned; it no longer relates to traditional perspective, but is evoked by different advancing or receding colours.” (Avram Kampf, chagall to Kitaj, Jewish Experience in 20th century Art, london, 1990, page 155). behind this romantic outlook at nature infused with a strong illusionistic effect of light and color there would appear to have been a major driving force, which pushed Ardon throughout his life that is “ ‘to render the light not only externally – impressionistically – but also internally, to convey the awe-inspiring primeval nature of the land’” (Arturo schwarz,

Mordecai Ardon: the colors of time, p. 22) oren Migdal oren Migdal Ardon nightfall in Judea 1966 Ardon, sunset 1965-66 Klee castle and sun 123

Michael Gross 1920-2004 (Israeli) 124 Untitled oil on canvas 60 x 80 cm (23 ½ x 31 ½ in.) Michael Gross signed lower left 1920-2004 (Israeli) $25,000-35,000 So what?, 1953 oil on plywood 136 x 75 cm (53 x 29 in.) signed lower left Provenance: Joseph Hackmey Collection, Tel Aviv $15,000-20,000

125 v

Avigdor Stematsky 1908-1989 (Israeli) Composition, 1971 oil on canvas 53 x 66 cm (20 ¾ x 25 ¾ in.) signed lower right, signed and dated on the reverse Provenance: Private Collection, New York $6,000-8,000 126

Avigdor Stematsky 1908-1989 (Israeli) Portrait of a woman, 1949 oil on canvas 65 x 50 cm (25 ½ x 19 ½ in.) signed and dated lower right PROVENANCE: Rosenfeld Gallery private Israeli collection

$16,000-20,000

128

Joseph Zaritzky 1891-1985 (Israeli) The artist painting on a Tel Aviv rooftop watercolor on paper 54 x 74 cm (21 x 29 in.) signed lower right 127 $5,000-7,000 Yehezkel Streichman 1906-1993 (Israeli) Sitting Woman (Zehava P.) waterocolor on paper 100 x 70 cm (39 x 27 ¼ in.) signed lower right PROVENANCE: Private collection Israel LITERATURE: Yona Fischer Streichman, The Israel Phoenix Insurance Company, Tel-Aviv, 1997, pp. 131 (full page color photograph). $4,000-6,000 129

Ephraim Roeytenberg Fima 1916-2005 (Israeli, French) Still life on table oil on masonite 47 x 68 cm (18 ¼ x 26 ½ in.) PROVENANCE Private Collection, New York $2,000-3,000

130

Zvi Mairovitch 1911-1974 (Israeli) Landscape, 1964-65 oil and oil pastel on canvas 100 x 50 cm (39 x 19 ½ in.) signed lower right, signed and inscribed on the reverse Provenance: Israeli Phoenix Collection, Tel-Aviv. Exhibited: 90 Years of Israeli Art, A Selection from the Joseph Hackmey Israeli Phoenix Collection, Exhibition in Tel-Aviv Museum of Art November1998 - January 1999. Literature: 90 Years of Israeli Art, A Selection from the Joseph Hackmey, Israeli Phoenix Collection, 1998, pp. 254. $12,000-16,000

131

Zvi Mairovitch 1911-1974 (Israeli) Still life with pomegranates oil on canvas 50 x 61 cm (19 ½ x 23 ¾ in.) signed lower right $2,000-3,000 131

Zvi Mairovitch 1911-1974 (Israeli) Still life with pomegranates oil on canvas 50 x 61 cm (19 ½ x 23 ¾ in.) signed lower right $2,000-3,000

133

Zvi Mairovitch 1911-1974 (Israeli) Composition oil on canvas 38 x 60 cm (14 ¾ x 23 ½ in.) signed lower right 132 PROVENANCE: Rosenfeld Gallery Private collection

Zvi Mairovitch 1911-1974 (Israeli) $4,000-5,000 Port of Haifa oil on canvas 50 x 61 cm (19 ½ x 23 ¾ in.) signed lower left PROVENANCE: Rosenfeld Gallery Private collection

$2,800-3,500 135

134 Moshe Kupferman 1926-2003 (Israeli) Moshe Kupferman Composition, 2003 1926-2003 (Israeli) oil on canvas 120 x 100 cm (46 ¾ x 39 in.) Untitled, 1987 signed and dated center left oil, graphite and chalk on cardboard Provenance: Important private Israeli collection 71 x 100 cm (27 ¾ x 39 in.) signed and dated lower right $10,000-15,000 $3,000-4,000

136

MosHE KUPFERMAn 1926-2003 (israeli) composition, 1994 oil on canvas 130 x 195 cm (50 ¾ x 76 in.) signed and dated lower center PRoVEnAncE: important Private israeli collection $18,000-25,000

137

MosHE GERsHUni b. 1936 (israeli) Kulam bechachma Asita mixed media on paper 66 x 98 cm (25 ¾ x 38 ¼ in.) signed lower left $5,000-7,000 138

MosHE GERsHUni b. 1936 (israeli) Kulam bechachma Asita mixed media on paper 66 x 98 cm (25 ¾ x 38 ¼ in.) signed lower left $8,000-12,000 139

Buky Schwartz b.1932 (Israeli) Untitled, 1981 pen and gouache on paper 30 x 45 cm (11 ½ x 17 ½ in.) signed lower center $1,500-2,500

140

Michal Naaman b. 1951 (Israeli) Knock on wood, 1992 oil on canvas 100 x 80 cm (39 x 31 in.) signed and dated on the reverse $7,500-10,000

141

Tsibi Geva b. 1951 (Israeli) Kefia, 1984 oil on canvas 178 x 132 cm (69 ½ x 51 ½ in.) signed and dated on the reverse $12,000-14,000 139

Buky Schwartz b.1932 (Israeli) Untitled, 1981 pen and gouache on paper 30 x 45 cm (11 ½ x 17 ½ in.) signed lower center $1,500-2,500

140

Michal Naaman b. 1951 (Israeli) Knock on wood, 1992 oil on canvas 100 x 80 cm (39 x 31 in.) signed and dated on the reverse $7,500-10,000

141

Tsibi Geva b. 1951 (Israeli) Kefia, 1984 oil on canvas 178 x 132 cm (69 ½ x 51 ½ in.) signed and dated on the reverse $12,000-14,000 142

AsAF bEn tsVi b. 1953 (israeli) Untitled, 1990 oil on canvas 40 x 64 cm (15 ½ x 25 in.) $3,000-4,000

143

AnAt bEtzER b. 1965 (israeli) Untitled, 2007 oil on canvas 142 x 71 cm (55 ½ x 27 ½ in.) signed and dated on the reverse $6,000-8,000

144

AnAt bEtzER b. 1965 (israeli) Untitled, 2006 oil on canvas 209 x 139 cm (81½ x 54 in.) signed and dated on the reverse $9,000-12,000

145

YEHUDA PoRbUcHRAi b.1949 (israeli) Untitled, 1992 oil on canvas 178 x 165 cm (69 ½ x 64 ½ in.) signed and dated on the reverse $12,000-14,000 146 ilAn bARUcH b. 1974 (israeli) cactus, 2009 oil on canvas 45 x 52 cm (17 ½ x 20 ½ in.) signed and dated lower left $2,800-3,500

147

MEnAsHE KADisHMAn b. 1932 (israeli) Four sheep heads acrylic on canvas 140 x 200 cm (54 ½ x 78 in.) signed lower left and again on the reverse $30,000-40,000

148

MEiR PicHHADzE 1955-2010 (israeli) Woman with purple fan oil on canvas 60 x 91 cm (23 ½ x 35 ½ in.) signed lower left $12,000-18,000 149

MEiR PicHHADzE 1955-2010 (israeli) Flower vase on windowsill overlooking landscape oil on canvas 80 x 100 cm (31 x 39 in.) 150 signed lower right $12,000-15,000 MEiR PicHHADzE 1955-2010 (israeli) Woman with umbrella oil on canvas 91 x 61 cm (35 x 24 in.) signed lower left $12,000-15,000

151

Meir Pichhadze 1955-2010 (Israeli) Two children on horses oil on canvas 90 x 120 cm (35 x 47 in.) signed lower right $12,000-15,000 152

Gabriel Cohen 1933. (Israeli/French) The Arab quarter, Jerusalem oil on board 54.50 x 62.50 cm (21.26 x 24.38 in.) signed lower center $2,400-2,800

153

Gabriel Cohen b. 1933 (Israeli/ French) La banlieu de Jerusalem oil on canvas 68 x 72 cm (26 ½ x 28 in.) signed lower right, titled and dated lower center $2,800-3,200 154

RAAnAn lEVY b. 1954 (israeli) still life pastel on paper 36 x 48 cm (14 x 19 in.) signed lower left $2,500-3,500

155

EliHAoU ERic boKobzA b. 1963 (israeli) Map of israel, 2002 oil and mixed media on canvas 67 x 56 cm (26 x 22 in.) signed and dated on the reverse $8,000-12,000

156 oFER lElloUcHE b. 1947 (israeli) Vase de fleurs sur une table oil on canvas 110 x 90 cm (43 x 35 in.) signed lower left $12,000-15,000 154

RAAnAn lEVY b. 1954 (israeli) still life pastel on paper 36 x 48 cm (14 x 19 in.) signed lower left $2,500-3,500

155

EliHAoU ERic boKobzA b. 1963 (israeli) Map of israel, 2002 oil and mixed media on canvas 67 x 56 cm (26 x 22 in.) signed and dated on the reverse $8,000-12,000

156 oFER lElloUcHE b. 1947 (israeli) Vase de fleurs sur une table oil on canvas 110 x 90 cm (43 x 35 in.) signed lower left $12,000-15,000 157 158 Amos Yaskil b. 1935 (Israeli) Amos Yaskil b. 1935 (Israeli) Galilee Landscape, 1957 oil on canvas On the road to Nazareth, 1972 65 x 41 cm (25 ¼ x 16 in.) oil on canvas signed and dated in English lower right, 130 x 73 cm (50.70 x 28.47 in.) titled on the reverse signed lower left LITERATURE: Amos Yaskil the Museum of LITERATURE: Amos Yaskil the Museum of Israeli art Ramat Gan, p 26. Israeli art Ramat Gan, p 47

$7,000-9,000 $16,000-20,000

159 zVi MAlnoVitzER b. 1945 (israeli) Jewish Wedding oil on canvas 46 x 55 cm (18 x 21 ½ in.) signed lower right $18,000-20,000

160 v

Camille Pissarro 1830-1903 (French) The meadow with the grey horse, eragny, 1893 oil on canvas 54.10 x 65 cm (21 x 25 ½ in.) signed and dated lower right ProvenanCe: Bought by Durand-ruel from the artist on 16 Dec. 1893 sold by Durand-ruel to Cronier on 2 Jan. 1924 sale, Coll.de monsieur Cronier, Paris, Drouot, 30 June 1937 no 90 ill. abraham Wechsler, new York, c. 1958 Galerie odermatt-Cazeau, Paris, c. 1987 sold by Galerie odermatt-Cazeau in Japan, c. 1987 sale, est-ouest auctions Co., april 2008, lot 303, impressionist to modern art. Private collection, nY liTeraTure: Pissarro, Critical Catalogue of Paintings, Wildenstein institute, vol. 3, p. 649, plate 1001 Pissarro-venturi-rosenberg, JBHiii no. 971 p. 410 (no. 7)- Pv 1939, no. 849. exHiBiTions: Paris, Galerie Durand-ruel, Camille Pissarro- Tableux, aquarelles, pastels, gouaches, march 3-21, 1894. new-York, university House, art is Forever: sixth annual art sale and loan Collectors’ exhibition, may 3-14, 1959. Paris, Galerie H. odermatt-Ph. Cazeau, maitres des xix and xx siecles, april 29-June 30, 1987.

EstimatE availablE upon rEquEst 160 v

EstimatE availablE upon rEquEst Camille Pissarro was born in 1830 in the West indies to French Jewish parents. as he was obliged to help run the family business, it was not until early adulthood that in his spare time he taught himself to paint. in 1855 he left for Paris, where he studied at the ecole des Beaux-arts under such masters as Camille Corot. in the 1860s he exhibited at the official salon, participating in 1863 with his friend manet and others in the historic salon des refusés. During the Franco-Prussian War he was forced to flee because of his anarchist ideas. upon his return he settled first in Pontoise, a suburb of Paris and then in 1884 at eragny, where he bought a house in 1893. in the quiet country environment he developed his impressionistic style, delighting in painting intimate rural landscapes for which he became best known. From 1874 Pissarro exhibited in all of the French impressionist exhibitions. in 1893 he had his first solo exhibition at Durand ruel Gallery, where ‘The meadow with the grey horse at eragny’ was exhibited and acclaimed. The painting was bought this same year by ruel, one of the most famous and influential impressionist art collectors of his time.

‘The meadow with the grey horse at eragny’ belongs to the artist’s second impressionist period. in the painting is depicted a green meadow, where a grey-white horse grazes by an apple tree in blossom. in the distance through the trees can be seen the red roof houses of eragny. The painting was carefully crafted by the artist to express the characteristically impressionistic value of depth; the tree placed in the center is its focal point. From it a di- agonal line of poplar trees placed to its left makes our eye recede into depth to see the houses, while the all important horse placed casually beside it subtly blends the intensely lighted meadow in the foreground to the colorful houses at the rear.

Paulus Potter-Horses in a field 1649 constable whitehorse, 1819 The sumptuous summer light is carefully sought in a detailed pointillist technique, which brings to light a brown-purple chromatic scale in the meadow - the countersign of this period in the artist’s work. ‘i see only points. When i start painting, the first thing that i try to find is the agreement between the sky, the earth and the water, there is always a ‘relation’. it means a ‘relation’ of agreements that is the difficulty of painting. i am interested less and less in the physical side of the painting (lines). The big problem to solve is to the everything, every single detail of the painting in harmony all together, let’s say in agreement”. This statement from the artist is a far cry from his earlier impressionist adaption of the theme of ‘landscape with a white horse’ from 1872, where the rural landscape is still the prime actor and not the atmospheric light. in his earlier paintings, Pissarro is still indebted for the theme and the realistic style to european genre painting, such as that of the 17th century Dutch artist Paulus Potter (‘Horses in a field’, 1649) or John Constable’s more famous ‘The White Horse’ (1819). in examining our painting it is apparently more to the Post- impressionist Georges seurat’s ‘landscape with a white horse’ from 1882 that we should turn. it is this artist’s love for the divisionist method which interests Pissarro, who desires the viewer to perceive in the light falling on the meadow a full set of new colors rather than the older green, yellow and brown. This is achieved by the intense observation of details of the play of light on different textures in the field. unlike seurat or the later Gauguin (‘White Horse, 1898), it is the love of nature that drives Pissarro to this careful study of the horse in the field, not the stylistic or symbolical meaning of the painting. Here can be seen that ‘lov- ing eye (of the artist) that transforms what may have appeared banal to others (in nature) into an image of peace and quiet living’ (rewald J. Camille Pissarro, T&H, london, 1963, pp.114). in a few words Pissarro uses in this painting the new post impressionist techniques to enhance man’s view of the ‘pleine air’ impression and natural light, as can be seen in the best paintings of this period- the ‘Hay Harvest at eragny’ and ‘Bountiful Harvest’ (1893) in the israel museum. oren migdal

landscape with a white seurat landscape with a horse,1882 Paul Gauguin horse in a meadow 1872 161

Camille Pissarro 1830-1903 (French) Port de rouen (avec bateau a vapeur), n.7 copper plate engraving 14 x 16 cm (5 ¾ x 6 ¼ in.) artist's monogram lower right and titled lower left $2,000-3,000

162 luCien Pissarro 1863-1944 (French) Three girls in stream color woodcut 11 x 7 cm (4 ¼ x 3 in.) $400-600 163 v

GeorGes manzana Pissarro 1871-1961 (French) Quai de seine a Paris, 1932 oil on cradled panel 41 x 33 cm (16 x 12 ¾ in.) signed and dated lower right ProvenanCe: Privqte French collection $8,000-12,000 164 v

GeorGes manzana Pissarro 1871-1961 (French) Bord de seine aux andely's, l'Hospice, 1935 oil on board 38 x 45 cm (14 ¾ x 17 ½ in.) signed lower right, signed titled and dated on the reverse ProvenanCe: Private collection usa $15,000-18,000

Georges-Henri Pissarro, better known as manzana, was born in 1871 at louvenciennes, the third of Camille Pissarro’s seven children. He studied art at his father’s side, from whom he learned to observe and to love nature. steeped in the tradition of his ancestral home, manzana turned out to be a prolific and versatile artist. as a young man he adopted his father’s purely impressionist style producing a series of landscapes in a highly refined oil technique. However around 1906 he progressed beyond and searched for other forms of expression developing a sort of orientalism in which he painted mainly female figures. During the early 1900’s manzana regularly exhibited impressionist landscapes at the ‘salon d’automne’ continuing to exhibit regularly until the end of the 1930’s (Camille Pissarro and his Descen- dants, Curated by David s. stern and Talma zakai-Kanner, Fort lauderdale museum of art, 2000, pp. 152-53) some of manzana’s most important paintings pick up on the favorite impressionistic motive of light reflecting on lake or river surfaces. in three different landscapes we see this motif expressed in diverse forms- vapor from a steam boat in winter (a theme taken possibly from Camille’s Port de rouen engraving); a lake side scene in a cloudy day and a riverside scene in summer (Bord de riviere, 1951). in a very detailed and delicate brush-work the artist catches the reflections of trees and boats on the water at the different timesof year. These effects are enhanced not only by the lesson learned from the divisionist technique of light but by the choice of an appropriate chromatic scale suited for the season and the specific site chosen. The paintings which were usually drawn from nature show: a grey chromatism for the winterscape combining the effect of vapor and mist; a rich green-red chromatic scale in the cloudy autumn day and a light green-yellow palette flattened by the strong summer light in the riverscape. oren migdal

165 v

GeorGes manzana Pissarro 1871-1961 (French) Bord de riviere, 1951 oil on masonite 34 x 47 cm (13 ¼ x 18 ¼ in.) signed and dated lower right $10,000-15,000 166 v

GeorGes manzana Pissarro 1871-1961 (French) le vieux puit, 1956 oil on panel 33 x 41 cm (12 ¾ x 16 in.) signed and dated lower left, signed on the reverse ProvenanCe: artcurial – Briest- Poulain $12,000-18,000 167 v

GeorGes manzana Pissarro 1871-1961 (French) 168 v sous les oliviers (menton), c. 1950's oil on board GeorGes manzana Pissarro 55 x 46 cm (21 ½ x 18 in.) 1871-1961 (French) signed lower left le Chemin a l'annonciade (menton) $13,000-16,000 c. 1950's oil on board 55 x 46 cm (21 ½ x 18 in.) signed lower left ProvenanCe: Private collection, england $13,000-16,000 168 v married and widowed three times, manzana spent the last years of his life with his younger son Felix in menton, returning to his impressionist roots GeorGes manzana Pissarro and painting the local landscape. His name lent an element of authority 1871-1961 (French) to the resurgence in popularity of his father's style of painting. He died in 1961 after 70 years of work, at the age of 90. le Chemin a l'annonciade (menton) in the paintings undertaken at menton, the artist changed his style. Con- c. 1950's centrating on more intimate garden or pine forest scenes, he still de- oil on board picts the typical impressionistic game of light but this time on the foliage 55 x 46 cm (21 ½ x 18 in.) of trees and plants and on the paths of the forest. in slightly larger and signed lower left rounded brushstrokes he enlivens the late afternoon summer scene, giv- ProvenanCe: Private collection, england ing it a more expressive tone, which is absent from his earlier works. The works still rely heavily, though, on the drawing in nature ‘en plein air’. $13,000-16,000 oren migdal 169 oroviDa Camille Pissarro 1893-1968 (French) Four cats pencil on tracing paper 18 x 33 cm (7 ¼ x 12 ¾ in.) 170 ProvenanCe: spink, Kings street, london (label on the reverse) GeorGes manzana Pissarro 1871-1961 (French) $400-600 in the field gouache on paper 31 x 23 cm (12 x 9 ¼ in.) signed lower left ProvenanCe: Property of a venezuelan/ israeli collector $3,000-4,000 170

GeorGes manzana Pissarro 1871-1961 (French) in the field gouache on paper 31 x 23 cm (12 x 9 ¼ in.) signed lower left ProvenanCe: Property of a venezuelan/ israeli collector $3,000-4,000 171 v luDoviC roDo Pissarro 172 v 1878-1952 (French) luDoviC roDo Pissarro Paysage a la roque, Printemps, 1878-1952 (French) c. 1930's oil on canvas vue de moret sur loing, 1932 46 x 61 cm (18 x 23 ¾ in.) oil on canvas signed lower left, titled on the reverse 38 x 55 cm (14 ¾ x 21 ¼ in.) ProvenanCe: important european collection signed lower right, titled and dated on the reverse $10,000-15,000 ProvenanCe: important european collection $10,000-15,000 ludovic-rodophe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. encouraged by his father, he began drawing from nature at an early age. He was familiarly known as rodo. as his elder brother manzana-Pissarro, rodo received his early artistic training at home, but his 172 v artistic production encompasses a wider range of media, including not only oil painting and tempera but also wood engraving and lithography. like his elder brother, rodo exhibited at luDoviC roDo Pissarro the salon des indépendents for over a forty year period, mainly landscapes but also colorful 1878-1952 (French) scenes of Paris night life. like his father, an anarchist by orientation, for a time he escaped from France. on his return he settled with his younger brother Paul-emile in Paris, where they met vue de moret sur loing, 1932 maurice de vlaminck and raoul Dufy and was greatly influenced by their style. From 1905 he oil on canvas exhibited for a time with the Fauve, leaving the group when he departed to settle in england. 38 x 55 cm (14 ¾ x 21 ¼ in.) rodo Pissarro’s art was influenced by his meeting with the fauve movement. in his land- signed lower right, scapes one can see both the color scheme (pink-orange and violet) and the com- titled and dated on the reverse positional patterns typical of this movement. rodo still adheres to the impressionist val- ProvenanCe: important european collection ue of depth, but on closer scrutiny one can see that the solidity of groups of houses or $10,000-15,000 trees is not given through light and shade but by juxtaposing colored areas that give just the impression of how the cluster of houses look but not their true look in nature. By turning away from the color scheme and concept of depth of impressionism, rodo does not totally abandon the basic impressionist maxim of ‘impression’. This can be clearly felt in his need to impress upon the viewer both the warmer colors of the clouds in a red sunset or the colder dark shades of the evening on a lake surface, aiming to convey to us the atmosphere at that specific time of day. This new style, which bases itself more on color than on natural light to depict nature is in line with the neo-impressionist outlook of art which gives the artist more expressive freedom. oren migdal 173

Paul-emile Pissarro 1884-1972 (French) Proussy, route de village watercolor on paper 25 x 32 cm (9 ¾ x 12 ¾ in.) signed lower right, titled on the reverse $1,000-1,200

174 luDoviC roDo Pissarro 1878-1952 (French) les trois marronniers ashford watercolor and pencil on paper 28 x 38 cm (11 x 14 ¾ in.) signed lower right and titled lower left $500-600

175 v

Paul-emile Pissarro 1884-1972 (French) la Forge a st. leonard des Bois oil on canvas 46 x 61 cm (18 x 24 in.) signed lower right, signed and titled on the reverse ProvenanCe: important european collection $12,000-18,000 Paul-emile Pissarro, Camille’s youngest son, was born in eragny in 1884, He was brought up in the artistic environment of the family home, studying under Claude monet, his father’s close friend. in 1905, Paul emile exhibited for the first time at the ‘salon des independents’, showing an impressionist landscape. By the 1920’s, he had become an established Post impressionist artist in his own right reaching the peak of his artistic development. in 1930 he 175 v moved to the Calvados in an area called swiss normandy. Here he found the tranquility he needed to paint in the calm blue hill landscape of Clecy. Paul-emile Pissarro Paul-emile’s style contrasts radically to that of his older brother rodo, with whom he lived 1884-1972 (French) and worked for a time in Paris. unlike his brother he was not a colorist but more of an expressionist. His bold landscapes, which recall to mind those of maurice de vlaminck, are la Forge a st. leonard des Bois not painterly in style but are infused instead with the opposite value of the need to paint oil on canvas volumes and the movement of the clouds or wind in trees. in thicker and wider brushstrokes 46 x 61 cm (18 x 24 in.) signed lower right, he transforms the viewer’s outlook at nature to a more three-dimensional experience by signed and titled on the reverse contrasting softer looking water and sky textures with heavier and more elaborated textures of the trees or fields. This sharp contrast between different areas filters even to his ProvenanCe: important european collection watercolors and etchings, as can be seen in the second work on auction showing a tree $12,000-18,000 at the entrance to a village. oren migdal 176

HuGues ClauDe Pissarro b. 1935 (French) saint remy oil on masonite 27 x 35 cm (11 x 13 ½ in.) signed and titled lower right $600-800

Hugues Claude Pissarro, also known professionally as isaac Pomi, is the grandson of Camille Pissarro. Born in neuilly-sur-seine in 1935 he was submerged from early youth in the artistic atmosphere of his family in Paul-emile’s home. Hughes Claude studied at the "ecole du musee du louvre" and, at the prestigious "ecole normale superieure" a unique French institution dedicated to the pursuit of achievement and excellence to which only the academic elite have access. He paints mostly landscapes, but also more intimate scenes. H.C. Pissarro is best known for his style of realism, but one can see in his art a certain variation from precise, to bold and also to the semi-abstract. These variations in style remain perfectly within the impressionist tradition of the ‘plein air’ and don’t transcend towards the expres- sionism of his father or of his uncle- ludovic rodo, as they are still based on a study of nature in the artist’s own words when talking of his desire to live in the country “my main aim is to find tranquility, peace, solitude and isolation far removed from the suffocation and oppression of unnatural urban life… savoring the joy and beauty of untrammeled nature on long walks…’ (Claude Pissarro and his descendants, p. 169).

The painting on auction emanates an air of extreme tranquility. Characterized by the lack of urban elements and of movement of machines or trees, even the standing onlookers have stopped in the middle of their walk to observe the scenery of the garden. The scene depicts in a rich green and violet palette the spring blossoming of a garden in which three women are standing talking hidden in the midst of the rich garden vegetation, present but absent to all effect. as in other paintings by the artist we as viewers have to choose if we want to be an active player in the scene or remain detached in our thoughts. in this case there is some ambivalence, but if we pass the first plane of the red flowers we can emerge ourselves in the quiet tranquility of the park and into a fantasy world not unpleasant in our hectic modern world. oren migdal 176

HuGues ClauDe Pissarro b. 1935 (French) saint remy oil on masonite 27 x 35 cm (11 x 13 ½ in.) signed and titled lower right $600-800

177 v

HuGues ClauDe Pissarro b. 1935 (French) le Petit Fils, la Causette au jardin de marras oil on canvas 65 x 81 cm (25 ¼ x 31 ½ in.) signed lower left, signed and titled on the reverse accompanied by certificate of authenticity no. PC/o 18707 dated 28 February 2010 signed by H. Claude Pissarro $18,000-26,000 178 lelia Pissarro 179 v b. 1963 (French) lelia Pissarro le pont du petit Tomek b. 1963 (French) pastel on paper 36 x 25 cm (14 x 10 in.) lyora et Joshua sous la neige en israel signed lower left oil on canvas 54 x 65 cm (21 x 25 ¼ in.) $1,000-1,500 signed lower right, signed and titled on the reverse $4,000-6,000 lélia Pissarro was born in Paris on 27 July 1963, the third and youngest of Hughes Claude Pissarro and Katia, an art dealer. she has painted since the age of 4. From infancy until the age of eleven she was entrusted to the care of her grandparents, Paulémile Pissarro and his wife Yvonne, in Clécy, suisse normandy, where her interest in drawing and painting was nur- tured by her grandfather. When she returned to her parents in Paris at the age of 11, the role of teacher was taken over by her father and she subsequently studied at l’ecole des Beaux- arts. lélia moved to london in 1988 and her work has regularly been exhibited in galleries around the world, she has played an important role in continuing this artistic dynasty participating in a series of exhibitions entitled Pissarro – The Four Generations. These exhibitions have been mounted in london, Tel aviv, and the museum of art in Fort lauderdale, Florida. For years lelia Pissarro continued painting in the soft impressionist style that began 135 years ago with Claude monet’s “impression — sunrise” and which also characterized her great-grandfather’s work. But then she rebelled. a vigorous woman, she left her former idiom — seen at new river as houses at the end of snowy roads and similar bucolic subjects — for large strongly gestural abstracts in the international style. Both paintings on auction belong to her early stylistic period, where the impressionistic val- ues of depth and the modulation of light are present. Typical of this style is the snowy village landscape of ‘lyora et Joshua sous la neige a israel’, which recalls to mind Paul-emille’s expressive style in its broad post-impressionistic brushwork. in this painting can also be found her father’s influence in the ‘fantastic’ landscape created in the snowstorm. The young couple placed on the village road, present the viewer with the same dilemma as in Hugh-Claude’s picture, of whether to be active and participate in this israeli walk or just enjoy it from afar. oren migdal

180 v

Henri le siDaner 1862-1939 (French) The Bridge in autumn in Gisors, 1918 oil, gouache and charcoal on board 33 x 46 cm (13 x 18 in.) signed lower left, titled and dated on the reverse ProvenanCe: Private collection Christie's london, 2006 (label on the reverse) sotheby's new York, november 2008, lot 387, impressionist and modern art Private american collection $50,000-70,000 180 v

Pierre-auGusTe renoir 1841 - 1919 (French) Portrait de Claude renoir, dit Coco, c. 1906 oil on canvas mounted on board 15.50 x 12.50 cm (6 x 4 ¾ in.) signed upper right ProvenanCe: Joseph schack, new York, acquired c. 1921 By descent to lillian Kessler, new York ann reichenbach, i. P. sharp & Co. mr. John sellick, John sellick Fine art, new York & london Private collection, usa Francois Daulte confirmed the authenticity of this work.. a photo certificate was issued.

$200,000-250,000

Pierre-Auguste Renoir was born in Limoges, France in 1841. He began his artistic apprenticeship as a porcelain painter but quickly changed his direction through the copying of master-paintings in the Louvre and by attending the studio of Charles Gleyre at the Ecole des Beaux-Arts in Paris. In 1862 he met Claude Monet, Al- fred Sisley and Jean Bazille with whom he forged a close friendship through an artistic affinity. Rejected by the Salons in 1866-67, they began to produce landscapes in Impressionistic style, creating a group of artists that although experiencing heavy criticism would continue to participate in the Salons. From 1880 Renoir concentrated in painting the female figure and became widely known for his paintings. In 1883 he had his first solo-exhibition at the Durand-Ruel Gallery in Paris. From then onwards he enjoyed tremendous success. A family man, the birth of his third son Claude (‘Coco’) in 1901 to the elderly sixty year old man, was an affirma- tion of life, and, as Jean Renoir later recalled, the blonde child would become “one of the most prolific inspirations my father ever had” (Jean Renoir, “Renoir, mon père,” Paris, 1981, quoted in Colin B. Bailey, Renoir’s Portraits Impressions of an Age (exhibition catalogue), National Gallery of Canada, Ottowa, 1997-98, p. 236). As sensitive to children’s charm as to women’s, Renoir found in ‘Coco’ an ideal model for his art. His portraits document the growth of his child to early adulthood, and display the warmth of the relationship the painter enjoyed with his son. The small portrait before us shows a cheery, rosy-skinned child with long, blonde hair and a red ribbon resting his head on the shoulder of a figure, probably his mother. Unlike many portraits of his young son (‘Coco’s sitting portrait’ in Boston, 1910 or ‘Coco au Ruban rose’) the artist does not paint the child en face or in ¾ views to the right but in an unusual profile view turned to the left. This challenges the viewer who looks at the painting from left to right as is customary, to concentrate on the child’s cuddled maternal posture and his dress. It was customary in the 19th century and into the early 20th century for boys to wear dresses and long hair until they went to school. Of interest to the modern viewer is the fact that the child is extremely young and the artist seems to want to focus our attention on the contrast between his beautifully rendered delicate features and soft looking hair to the more voluminous blue attire. This contrast is undertaken both through the use of color (the colder blue verse the rosy cheeks and ribbon) and by the use of a thicker impasto in the dress which is juxtaposed to the delicate transparency of the child’s cheek which seems to glow like fine enamelware. The fact that the portrait seems to be squeezed into a frame almost too small to contain the figure and the small part of his mother’s body, would point to the artist’s intention to stress the intimacy that mother and child enjoy.

Renoir Rubens Sargent Coco au ruban rose head of a boy Portrait of Caspar Godrich Comparing the portrait with that of other artist’s of the period, it is closer in spirit to those of women artists- morisot’s ‘Portrait of her two children’ or even more to Cassat’s ‘maternal kiss’. Both artists brought to the painting of children a feminine and maternal touch and a closer and deeper understanding of how children felt and behaved. renoir’s adoption of this new outlook towards children is not acciden- tal; throughout the 19th century a growing attention was given to children- a new category to be reckoned with also in their leisure time. unlike the earlier classical type portraits of sargent (Portrait of Caspar Goodrich 1882) and reynold (Brummell Children) Cassat’s ground breaking ‘Breakfast in bed’ of 1897 broke all possible rules of intimacy and sensitivity. renoir could only abide to this new vein by this careful rendering of the relaxing child which deeply recalls Cassat’s strong presence, this being rendered in his own particular style. Dabbed in with long, flickering brushstrokes this small portrait, so vibrant and alive has all the delicacy that renoir could master. nowhere better than in pictures of his and intimates do we see the radiant grace and freedom, the fresh- Pierre auguste renoir Child with a whip ness and warm luster of renoir’s mature style. oren migdal

morisot Portrait of Children Cassatt Cassatt breakfast in bed the maternal kiss 182 v

BlanCHe HosCHeDe-moneT 1865-1947 (French) le Jardin de monet a Giverny oil on canvas 81 x 65 cm (31 ½ x 25 ¼ in.) ProvenanCe: property from the estate of the artist $60,000-80,000

Claude monet le Pont Japonais a Giverny

Blanche Hoschede monet was born in Paris on november 10, 1865, the second daughter of ernest and alice Hoschede. ernest was a busisness man but also an art collector of impressionist paintings. at the age of eleven, Blanche discovered the art of painting. she became fond of Claude monet and spent many hour the studio of monet and edouard manet. monet spent summers at Pourville and Blanche began painting alongside him, becoming his assistant and pupil. she often carried monet's canvas and easel, and then would set up her own and paint. Her work was done in plein air as she did not have a proper studio. Blanche married Claude monet’s son, Jean, in 1897. They lived in rouen and Beaumont-le-roger until 1913. she painted landscape such as meadows along the risle’s river but also Poplars and Pines. upon her husband's death in 1914, she moved back to Giverny with Claude monet. The painting on auction, painted c. 1890's is reminiscent of the famous painting by monet "le Pont Japonais a Giverny". she adopted an almost pure form of impressionism while painting for her own pleasure. at times it is difficult to distinguish her work from monet’s particularly during her first period in Giverny, the setting for this work. she painted Claude monet’s garden, and its surroundings using his palette, brushes, paint and canvases.

183

Julius menDes PriCe 1857-1924 (British) Portrait of a woman, 1890 tempera and oil on cardboard mounted on wood panel 48 x 38 cm (18 ¾ x 14 ¾ in.) signed and dated upper right ProvenanCe: The st. James Gallery of art london, uK $800-1,200

184 louis leoPolD BoillY 1761-1845 (French) Portrait of woman oil on canvas 22 x 17 cm (8 ½ x 6 ½ in.) signed lower right $8,000-10,000 185 v alFreD CHouBraC 1853-1902 (French) Portrait de femme au collier d'emeraudes, 1899 oil on canvas 55 x 46 cm (21 ½ x 18 in.) signed and dated lower right $4,500-6,000 186

Jules PasCin 1885-1930 (French) 187 v Personages, 1914 watercolor and ink on paper Henri Jean Guillaume marTin 18 x 28 cm (7 x 11 in.) 1860-1943 (French) Portrait of a woman signed and dated lower right oil on canvas $8,000-12,000 96 x 56 cm (37 ½ x 21 ¾ in.) signed lower left $40,000-60,000

188 v

CHarles Camoin 189 v 1879-1965 (French) le port armanD Guillaumin oil on canvas board 1841-1927 (French) 16 x 22 cm (6 ¼ x 8 ½ in.) signed lower left les Jonquilles oil on canvas $5,000-7,000 44 x 33 cm (17 ¼ x 12 ¾ in.) signed lower left ProvenanCe: important French private collection exHiBiTeD: Plaisir de la peinture, Galerie alfred Daber, Paris, may-June 1957 $18,000-25,000

190 v louis valTaT 1869-1952 (French) le verger oil on canvas 33 x 46 cm (13 x 18 in.) initialed lower right ProvenanCe: arthur lenar Gallerie Paris (label on the reverse) $40,000-60,000

191 v

CHarles Camoin 1879-1965 (French) seated young woman oil on canvas 73 x 51 cm (28 ½ x 20 in.) signed lower right $45,000-60,000

little-Girl-in-a-White-apron- aka-Portrait-of-lucie- Berard-large

192 v aCHille emile oTHon Friesz 1879-1949 (French) Honfleur, 1945 oil on panel 50 x 65 cm (19 ½ x 25 ¼ in.) 193 v signed and dated lower right, signed and titled on the reverse JaCQues marTin-Ferriere $12,000-15,000 1893-1972 (French) Bouquet de pivoines et d'orchidees, 1943 oil on panel 60 x 50 cm (23 ½ x 19 ½ in.) signed and dated lower left $12,000-15,000

194 v louis HaYeT 1864-1940 (French) vieille rue pres de la cathedrale, 1902 oil on cardboard mounted on canvas 61 x 43 cm (24 x 16 ¾ in.) signed and dated lower right $4,000-6,000

195 v maxime mauFra 1863-1918 (French) soleil levant a Beg-meg, 1900 oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed and dated lower left $12,000-15,000 196 v anDre Derain 1880-1954 (French) Portrait of a woman, c. 1920s oil on canvas 41 x 33 cm (16 x 12 ¾ in.) signed lower right ProvenanCe: Collection of James armand rothschild Private Collection, new York $12,000-16,000

197 v mauriCe De vlaminCK 1876-1958 (French) nature morte aux oranges oil on canvas 60 x 73 cm (23 ½ x 28 ½ in.) signed lower right ProvenanCe: ilhamy Hussein Pacha, Cap Ferrat (sale: Tajan, monaco, 14th march 1993, lot 137) Private european collection $160,000-220,000 maurice de vlaminck is best known as one of the founding members of the Fau- vist school of artists who worked in Paris between 1905 and 1907. However, the artist had a long career that spanned beyond the narrow time frame he is often recognized for. in 1907 vlaminck attended the Cézanne retrospective at the Paris salon d'automne, which would be a major turning point in his career. inspired by the works on display, the Fauvist artist turned away from the aggressive brush strokes and loud pri- mary colors he used, in favor of a refined palette to express volume, form and structure. Cezanne’s influence on vlaminck can be clearly discerned in the work on auction, a still life with bowl of oranges, kettle and cup. still life paintings were a major theme in the art of Cezanne, who is considered one of the major innovators of this genre in the modernist tradition. The subject, tone and formality, in the work on auction seem to be di- rectly in line with those of Cezanne’s works, as still life with Kettle 1869 or the later still life with apples. in his work can be found the basic structural approach to the genre which is typical of this artist, in which a limited number of objects are placed on a bare table and form subtle relations of form, color and texture according to their placing and correspondence with minor details (cloth, background) thus creating a theme. This structural approach is called Cezanne’s ‘poetics of form’. on taking it vlaminck supplanted his fauvist colorism with an austere, monochromatic composition. echo- ing Picasso's Blue Period of the previous decade, as well as his early Cubism, vlaminck removed color in order to focus attention on form. as Cézanne had shown, subtle distortions of shape and perspective call into question our perception while stress- ing the inherent structure of objects. vlaminck seeks to closely explore this lesson.

luis melendez still life with melon Cezanne still life With apples Cezanne still life with Green Pot vlaminck still life and pears and Pewter Jug unlike Cezanne, who ultimately fell back on the spanish realist masters (luis mendelez), in composing compositions of cheap utensils while working in a restrictive palette to render the play of light and shadow. vlaminck diverges from his master in the technique by leaving himself a room for expression. He focuses on the close relations of shapes and colors without ignoring the relevant details that enhance the mood of the work. in the still life at hand the artist pays little attention to the environment surrounding the subject of the painting. The background shows a quick delineation of a corner wall, without regard to attention to depth or space beyond the angularity of the corner. However, the objects in the center and foreground, the bowl of oranges and the teapot with matching cup, are rendered dramatically, drawing attention to light and shadow in a method unseen before in vlaminck’s work. He maintains his interest in painting what he imagines rather than the real objects. He is deconstruct- ing the space and leaving us with a flat, tonal image of an orange given shape by the rending of volume through painting of shadow. unlike Ce- zanne, the stem of the orange is irrelevant, as is a realistic depiction of the folds of the fab- ric. it is as if vlaminck is trying to assert that rendering shape is important but secondary, em- phasizing a harmony of color. We see various tones of grey and white used to dramatize the atmospheric mood bright- ened only by the vibrant hues of the oranges. all of this appears to be intentional, allowing the artist to maintain his indi- viduality in the light of artists such as Cezanne, who paid closer attention to rendering details that vlaminck deemed unnecessary in experimenting with a new sense of formalism. This painting also presents itself as noteworthy outside of its position as a departure from Fau- vism. it represents a starting point for what vlaminck would assert as his signature style. in the 1920s the world saw exhibitions of works of snowy suburban villages painted aggressively with thick impasto reminiscent of his works between 1905 and 1907. But more uniquely the paintings are not bright and flashy, they are subdued and tempered similar to the painting up for auction. We see in our painting the beginnings of an exploration of color and rendering, presenting itself as a paradigm of expressiveness only to be exaggerated in later works. This still life is a remarkable painting as it is a rarity for a vlaminck collector. it defines a position in the artist’s oevre that is an “in-between” stage, a time of creative refinement and evolution. oren migdal and Julianne rosenblum

198 v mauriCe De vlaminCK 1876-1958 (French) Flowers oil on canvas 55 x 38 cm (21 ½ x 14 ¾ in.) signed lower left ProvenanCe: sale of sotheby's new York, Thursday, november 3, 2005 (lot 00379) James vigeveno Galleries, los angeles This work will be included in the forthcoming catalogue raisonné being prepared by maïthé vallès-Bled and Godeliève de vlaminck under the sponsorship of the Wildenstein institute. $50,000-70,000 199 v moise KislinG 1891-1953 (Polish, French) Flowers oil on canvas 41 x 33 cm (16 x 12 ¾ in.) signed lower right ProvenanCe: sale Piasa, Dec 2005 lot 13, importants dessins, Tableaux et sculptures- des xix et xx siecles $45,000-60,000

200 v moise KislinG 1891-1953 (French) Jeune Breton, 1931 oil on canvas 73 x 54 cm (28 ¾ x 21 ¼ in.) signed lower right 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. $70,000-90,000

201 v moise KislinG 1891-1953 (Polish, French) Portrait of woman, 1930 oil on canvas 41 x 33 cm (16 x 12 ¾ in.) signed lower left $38,000-45,000 202 v moise KislinG 1891-1953 (Polish, French) Flowers, 1948 oil on canvas 47 x 38 cm (18 ¼ x 14 ¾ in.) signed and dated upper right ProvenanCe: sale of sotheby’s new York: Wednesday, may 10, 1989 lot 445 (sold for $209,000)) $45,000-60,000

203

PaBlo PiCasso 1881-1973 (spanish) visage, 1966 30 x 27 cm (11 ¾ x 10 ¾ in.) signed, dated and dedicated "pour mon ami Bernal, 22.8.66" on the top title in the center noTre Dame De vie has been erased maya Picasso has kindly confirmed the authenticity of this work. Photocopy of Certificate of authenticity dated 23 February 2005 signed by Claude Picasso. ProvenanCe: millon & associés: Friday, march 25, 2005 lot 457

$40,000-60,000 203

$40,000-60,000 204 v marC CHaGall 1887-1985 (French) Bouquet au coq aile, 1962 oil on canvas 24 x 19 cm (9 ¼ x 7 ½ in.) signed lower left, signed again on the reverse Comite marc Chagall has kindly confirmed the authenticity of this work $180,000-250,000

Painted during Chagall's mature period, Bouquet et Coq ailee is a vivid representation of two of the artist's favorite subjects: flower bouquets and the rooster. Franz meyer states, "The fowl yard, too, has its place in Cha- gall's recollections of his childhood. That is why poultry are always part of the russian scenes painted during his first Paris period. in the twenties impressions of French farmyards and work on the Fables lend the motif a new topicality. it first occupies a central position in on the rooster (fig. 1) painted in 1928 and since became a constant theme in the artist’s art. as a symbol the cock has enjoyed an important place in art. For thousands of years it has played a part in religious rites as the embodiment of the forces of the sun and fire. This symbolic meaning still lingers on in Chagall's works, where the cock represents elementary spiritual power" (Franz meyer, marc Chagall, new York, 1963, p. 380). in the 1960s Chagall’s attention was focused on an exaggeration of visual planes and mastering the translation of the ideas in his head to the physical work surface. He had already developed a visual vocabulary; seemingly incongruous metaphors paired with figurative abstraction. in our miniature dreamscape, we are presented with amarvel- ous example of the artist’s work at this stage of his career when he played with poeti- cizing a betrayal of geometric balance and portraying real objects divorced from the laws of nature. The artist bedecks the canvas with literal imagery of a table set with a large bouquet of flowers juxtaposed to a disproportionately large flying rooster. in previous works by the artist the interpretation of the rooster was more literal than imagined, the bird depicted in a red or dark color with wattle and comb, (tissue found under and above the head of the bird), such as seen in Painter at the easel, 1959. The “rooster” in our work is depicted with a delicate long beak and round head, similar to a humming- bird, approaching the flowers as if to suckle their nectar. This strangely enough causes a disjointed connotation between the title of the work and the illustrated bird, which appears to be of a different kind and complexion. The artist no doubt intended for this confusion, harkening a sense of childlike play between the artist, subject and the viewer. The element of playfulness evident in the depiction of the rooster and bouquet is also present in the minor objects depicted in the painting. The foreground is occu- pied by loose yet substantial brushstrokes delineating small disjointed objects; a bottle, a fruit basket, and a four legged animal. While the artist often said that his work did not have symbolic meaning, as Franz meyer asserts subconsciously his iconog- raphy most often referred, as we saw above, to his agrarian roots and interest in folklore from his birth village in vitebsk, russia. The casually placed objects would appear to be residues of Chagall’s memories or dreams and they are placed in our picture to ‘upset’ or better to ‘challenge’ our vision and our mind, as they did to Chagall. Beyond its subject matter, the most striking element in the painting is the use of impasto. The entire canvas is textured by the raised paint that shapes out the volumes of the objects instead of rendering their outline alone. The technique emphasizes the element of fantasy. Chagall used impasto throughout his career, but rarely in such excess and in such con- densed form. in past paintings we can see areas of impasto often in highly saturated pig- ments that Chagall wanted draw attention to, but in this work the entire canvas is heavy with impasto, inviting the viewer to touch the canvas – as if to ask us to join in the nonsensical scene and build a fantasy world made of one or more details. Through the heavy painterly style, luminous palette, and imagined illustration Bouquet et Coq ailee triumphantly takes us into the artist’s world, engrossing the viewer in Chagall’s fantasy, even if for a brief moment. oren migdal and Julianne rosenblum marc Chagall le coq fleuri 1960s marc Chagall Bouquet with Flying lovers 1947 205 v aBraHam minTCHine 1898-1931 (ukrainian) Pierrot, c.1928 oil on canvas 92 x 60 cm (36 x 23 ½ in.) signed lower left ProvenanCe: Galleria lorenzelli, Bergamo Galerie Di veroli, Paris exHiBiTeD: mane Katz museum, Haifa, may 1999, no. 33. liTeraTure: massimo Di-veroli, abraham mintchine 1898-1931, Giorgio armando e associati, Paris, 1981, pp. 78 (full page color photograph). abraham mintchine 1898-1931, mane Katz museum, exhibition Catalogue, 1999, pp. 15 (full page color plate).

$280,000-350,000 205 v aBraHam minTCHine 1898-1931 (ukrainian) Pierrot, c.1928 oil on canvas 92 x 60 cm (36 x 23 ½ in.) signed lower left ProvenanCe: Galleria lorenzelli, Bergamo Galerie Di veroli, Paris exHiBiTeD: mane Katz museum, Haifa, may 1999, no. 33. liTeraTure: massimo Di-veroli, abraham mintchine 1898-1931, Giorgio armando e associati, Paris, 1981, pp. 78 (full page color photograph). abraham mintchine 1898-1931, mane Katz museum, exhibition Catalogue, 1999, pp. 15 (full page color plate).

$280,000-350,000 Abraham Mintchine was born in Kiev, Ukraine, in 1898 and, as a young man, worked as a goldsmith. During the Petlyura’s persecutions he suffered hunger and contracted tubercu- losis from which he eventually died in 1931 at the age of 33. At his heart a painter, he is said by his close friend Andre Favory to have worked from sunrise to sunset, possibly to fight against his premonition of his forthcoming death. In 1923 Mintchine left Russia, first to Berlin, where he staged a first exhibition of his works and later to Paris, where he was recognized as one of the more talented painters of the School of Paris. In this group he was renowned for being a su- preme colorist and by his solidly built, clear and comprehensible paintings. Notable are his landscapes and interiors as well as his subtle allegories. In 1934 a large group of his works was exhibited including different sights of Paris and a few of his typical portraits among others. The ‘Pierrot’ is one of the most imposing and famous works of this artist. It portrays a young clown standing on a terrace before a table on which are three large sea-shells. In the background is painted an extensive landscape near Toulon, a village in southern France where the artist took refuge at the latter part of his life because of his ill-health. The painting is dominated by the towering figure of the youngster in thought, a somewhat melancholic boy with closed eyes, who places his hands on two shells on the table as if recollecting some lost memory from his childhood. A winged hat reminiscent of that of the playful Greek god Hermes and sign of his travels, transports us to a new realm. This is the realm of dream and fantasy in which the artist delighted. As Mintchine's close friend Maximilien Guathier analyses “Mintchine, by his child-like imagination, translated everything into poetry and recognized the magic quality of things which to others look ordinary and prosaic” (Massimo di Veroli, Abraham Mintchine 1898-1931, Milano 1981, pp. 143-44) In the simple symbolic key that Guathier supplies us, the shells are possibly our childhood vehicle to dream. We should, as children do, close our eyes, put the shells to our ears, and let ourselves be carried away by the sound of the sea. The melancholic youngster depicted in the painting, so different than the smiling children that Mintchine usually painted (see- ‘Bambino con Arlechino’) seems reluctant to leave the reality of this world for that of dreams. Are these the ghosts of Mintchine’s terrible memories of his dreadful infancy in the pogroms in Russia or the desire to remove himself from the world by placing the shells to his ears and refrain from thinking of his coming death. This delicacy and frailty of Mint- chine’s character would suit this interpretation of his work which is always characterized by a sharp sensibility and would not allow him to hide behind the comic shell of the clown. To be sure Mintchine’s Pierrot is different in concept and climate than that of the famous Pierrot’s in history. The fervent red color of the cloth of Pierrot removes it both from the languid figure of Watteau’s Commedia dell’ Arte character, as well as that ofthe sad and caricature like circus Pierrot of Picasso (‘Pierrot 1918). His Pierrot is more suited in temperature and style to the tradition of French romantics of the 19th century as Jean-Gaspard Deburau where reality and dream go hand in hand, the action unfold- ing in a fairy-land, peopled with good and bad spirits who both advance and impede the plot, and which was interlarded with realistic, comically violent scenes. Deburau’s and Mintchine’s Pierrot are both a fool and no fool; they tread the double-line of reality and imagination. For this reason, Mintchine paints the Pierrot both inside the railed terrace and outside as if to make a synthesis between the two. Or in other words ‘Mint- chine was a poet who liked to paint visionary portraits, magically turning the sitters into clowns... He loved the mystery of the world and gave wings to humans, suggest- ing as it were another dimension of life, where reality and imagination mingle, until reality becomes a dream, strange and remote; as if reality was only a suggestion of another sphere of being” (Gabriel Talphir as cited in- Abraham Mintchine, pp. 152-153) Oren Migdal

Cezanne Harlequin Derain Harlequin and Pierrot Picasso Pierrot 1918 Watteau Pierrot 1718 1888-1890 National c.1924 Gallery Washington 206 v aBraHam minTCHine 1898-1931 (ukrainian) The Port oil on canvas 73 x 92 cm (28 ½ x 35 ¾ in.) ProvenanCe: musee du Petit Palais, Geneve Private collection, Paris

$35,000-50,000

207 v 208 v mane KaTz mane KaTz 1894-1962 (russian, French) 1894-1962 (russian, French) vilonist Flutist bronze bronze h: 35 cm (13 ½ in.) h: 38 cm (14 ¾ in.) engraved signature engraved signature on the back lower right on the left side $2,000-3,000 $2,000-3,000

209v

mane KaTz 1894-1962 (russian,( French) musicians oil on canvas 51 x 37 cm (20 x 14 ¼ in.) signed lower left $40,000-60,000

210 mane KaTz 211 v 1894-1962 (russian, French) mane KaTz sabbath in Jerusalem 1894-1962 (russian, French) oil on canvas 40 x 30 cm (15 ¾ x 12 in.) Two students, 1932 signed upper right oil on canvas 100 x 81 cm (39 x 31 ½ in.) $15,000-20,000 signed and dated lower left $80,000-120,000 211 v mane KaTz 1894-1962 (russian, French) Two students, 1932 oil on canvas 100 x 81 cm (39 x 31 ½ in.) signed and dated lower left $80,000-120,000 212 mane KaTz 1894-1962 (russian, French) Wedding, 1960's oil on canvas 81 x 100 cm (31 ½ x 39 in.) $90,000-120,000

213 mane KaTz 1894-1962 (russian, French) Two rabbis dancing oil on canvas 92 x 73 cm (35 ¾ x 28 ½ in.) signed upper right ProvenanCe: Collection m. Bodner Private collection, Jerusalem liTeraTure: robert s. aries, mane Katz the Complete Works, vol !!, plate280 $60,000-80,000 214 v mane KaTz 1894-1962 (russian, French) violinist, 1950's oil on canvas 36 x 31 cm (14 x 12 in.) signed upper right ProvenanCe: Collection m. and a. shalvi, Jerusalem liTeraTure: robert s. aires, mane Katz the Complete Works, vol. i plate 502 $14,000-18,000 215

JozeF israels 216 v 1824-1911 (Dutch) ozeF sraels old woman knitting J i 1824-1911 (Dutch) oil on canvas 40 x 30 cm (15 ½ x 11 ½ in.) a peaceful afternoon signed lower right oil on panel 41 x 28 cm (16 x 11 in.) $6,000-9,000 signed lower left ProvenanCe: anderson Galleries, Chicago, usa (label) James roundell, london (label) simon Dickonson, london and new York (label) Property from an important european collection $16,000-22,000

217

JozeF israels 1824-1911 (Dutch) When one grows old oil on canvas 143 x 89 cm (55 ½ x 34 ½ in) one of various versions of the subject. see- Dekkers, Jozef israels, Gronigen, 1999, pp. 204-206 (versions) $25,000-35,000 218 lesser urY 1861-1931 (German) Dutch landscape charcoal on paper 34 x 49 cm (13 ¼ x 19 in.) 219 v signed lower left $2,000-3,000 lesser urY 1861-1931 (German) Hollandisches Dorf, 1912 pastel on cardboard 71 x 100 cm (27 ½ x 39 in.) signed and dated lower left ProvenanCe: Private Collection, Berlin (acquired by 1985-86) sale: Christie’s, amsterdam, 8th June 2000, lot 260 sale: Christie’s, new York, 10th may 2001, lot 124 acquired by the present owner at the above sale sale: sotheby’s new York: , november 24, 2009 exHiBiTeD: munich, Haus der Kunst, 30. Deutsche Kunst- und antiquitätenmesse, 1985, illustrated in the exhibition catalogue To be included in the forthcoming ury Catalogue raisonné being prepared by Dr sibylle Gross $18,000-26,000 219 v lesser urY 1861-1931 (German) Hollandisches Dorf, 1912 pastel on cardboard 71 x 100 cm (27 ½ x 39 in.) signed and dated lower left ProvenanCe: Private Collection, Berlin (acquired by 1985-86) sale: Christie’s, amsterdam, 8th June 2000, lot 260 sale: Christie’s, new York, 10th may 2001, lot 124 acquired by the present owner at the above sale sale: sotheby’s new York: , november 24, 2009 exHiBiTeD: munich, Haus der Kunst, 30. Deutsche Kunst- und antiquitätenmesse, 1985, illustrated in the exhibition catalogue To be included in the forthcoming ury Catalogue raisonné being prepared by Dr sibylle Gross $18,000-26,000 220 v

HeinriCH PrieCHenFrieD 1867-1953 (austrian) seated rabbi oil on panel 40 x 30 cm (15 ¼ x 12 in.) signed upper right $40,000-60,000

isidar Kaufmann, ‘Chassidic studies’ isidor Kaufmann, ‘Torah Class’

221 v leoPolD PiliCHoWsKi 1869-1933 (Polish) Day of atonement, 1906 oil on canvas 44 x 58 cm (17 x 22 ¾ in.) signed and dated lower right ProvenanCe: Gemeente museum, Den-Haag (sticker on reverse- Deposit 1922) sotheby’s amestrdam. 23rd march 2005, lot no. 219. exHiBiTeD: 'Fragmented mirror'- exhibition of Jewish artist's Berlin, 1907, Cuarated by Batsheva Goldman ida, Tel aviv , 16 June- 29 august 2009, no, 118. liTeraTure: 'Fragmented mirror'- exhibition of Jewish artist's Berlin, 1907, Tel aviv museum exhibition catalogue, 2099, pp. 63 (full page color photograph) $55,000-75,000 222 maurYCY TreBaCz 1861-1941 (Polish) Tashlich oil on canvas 71 x 91 cm (27 ¾ x 35 ½ in.) signed lower right $9,000-12,000

223 isaaK il'iCH leviTan 1860-1900 (russian) etude of russian landscape in early spring oil on board 17 x 22 cm (6 ¾ x 8 ½ in.) signed lower right $23,000-28,000 224v

Bela KaDar 1877-1955 (Hungarian) Personnages et chien oil on canvas 50 x 60 cm (19 ½ x 23 ½ in.) signed lower left ProvenanCe: Private Collection, new York $10,000-15,000

225

HuGo sCHeiBer 1873-1950 (Hungarian) river landscape with boats oil on board 45 x 64 cm (17 ½ x 25 in.) signed lower right $8,000-9,500 224v

Bela KaDar 1877-1955 (Hungarian) Personnages et chien oil on canvas 50 x 60 cm (19 ½ x 23 ½ in.) signed lower left ProvenanCe: Private Collection, new York $10,000-15,000

225

HuGo sCHeiBer 1873-1950 (Hungarian) river landscape with boats oil on board 45 x 64 cm (17 ½ x 25 in.) signed lower right $8,000-9,500

226 v

DaviD osiPoviTCH WiDHoPFF 1867-1933 (French) Fillette a la corbeille de fleurs oil on canvas 65 x 49 cm (25 ¼ x 19 in.) signed lower right $5,000-7,000 227 v samuel DaviD lev-lanDau 1895-1979 (american) The island oil on canvas 41 x 51 cm (16 x 20 in.) signed lower right, dedicated on the reverse in Yiddish "to my good friend Harry stern, 10/27/44" ProvenanCe: Private Collection, new York $7,000-8,500

228 v

DaviD DaviDoviCH BurliuK 1882-1967 (russian, american) Portrait of a man oil on canvas board 50 x 40 cm (20 x 16 in.) signed lower left (Burliuck) ProvenanCe: Private Collection, new York $12,000-15,000 229 mela muTer 1876-1967 (Polish, French) Portrait of a woman oil on canvas 55 x 42 cm (21 ½ x 16 ¼ in.) signed upper right $12,000-15,000 230 v alexanDre alTmann 1885-1950 (ukrainian) a Bridge over a field oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed lower left $12,000-15,000

231

JosePH Pressmane 1904-1967 (French) landscape with house and horse, 1961 oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed and dated lower right Certificate of authenticity attached to the reverse $8,000-12,000

232 v

PinCHus KremeGne 1890-1981 (French, Belarusian) nature morte, 1957 oil on canvas 51 x 54 cm (20 x 21 in.) signed lower center ProvenanCe: Private Collection, new York $6,000-8,000 231

233 v

arBiT BlaTas 1908-1999 (lithuanian) street in Ceret oil on paper mounted on canvas 68 x 81 cm (26 ½ x 31 ½ in.) signed lower right ProvenanCe: skinner auctioneers and appraisers, Boston, ma, american and european Paintings and Prints, 12 september 2008, lot 704 $16,000-20,000 234

PinCHus KremeGne 1890-1981 (French, Belarusian) still life with bottle and bread oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed lower right $4,000-6,000

235

PinCHus KremeGne 1890-1981 (French, Belarusian) still life oil on masonite 23 x 45 cm (9 x 17 ½ in.) signed lower right $3,000-5,000 234

PinCHus KremeGne 1890-1981 (French, Belarusian) still life with bottle and bread oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed lower right $4,000-6,000

235

PinCHus KremeGne 1890-1981 (French, Belarusian) still life oil on masonite 23 x 45 cm (9 x 17 ½ in.) signed lower right $3,000-5,000

236

raCHel KoGan 1912-1998 (ukrainian) still life, 1975 oil on canvas 70 x 70 cm (27 x 27 in.) signed lower right, signed and dated on the reverse $4,000-6,000 237 v luCien PHiliPPe moreTTi 1922-2000 (French) Portrait of a young girl oil on canvas 28 x 23 cm (11 x 9 in.) signed upper right $3,000-5,000

238

Pierre euGene monTezin 1874-1946 (French) Paysage oil on board mounted on canvas 19 x 24 cm (7 ½ x 9 ¼ in.) signed lower left $3,000-4,000 239

JaCQues emile BlanCHe 1861-1942 (French) Bouquet de fleurs sur une table oil on canvas 100 x 81 cm (39 x 31 ½ in.) signed lower right $15,000-20,000 240 v elisee maCleT 1881-1962 (French) French landscape oil on cradled panel 48 x 55 cm (18 ¾ x 21 ½ in.) signed lower right $5,000-7,000

241 v elisee maCleT 1881-1962 (French) avenue de la Palmerai, Gulf of Juan, 1956 oil on canvas 54 x 73 cm (21 x 28 ¾ in.) signed lower left ProvenanCe: lickel Gallery, new York, usa Private collection usa $5,000-7,000 240 v 242 v elisee maCleT JaCQues marTin-Ferriere 1881-1962 (French) 1893-1972 (French) French landscape Femmes a Prizren (Kosovo) oil on cradled panel oil on panel 48 x 55 cm (18 ¾ x 21 ½ in.) 38 x 46 cm (14 ¾ x 18 in.) signed lower right signed lower left ProvenanCe: Wally Findlay Gallery $5,000-7,000 Christie's new York, February 2007, lot 53, impressionist and modern art $4,000-6,000

241 v 243 v elisee maCleT 1881-1962 (French) FranCois Gall avenue de la Palmerai, 1912-1987 (French) Gulf of Juan, 1956 Paris la seine oil on canvas au port st. michel 54 x 73 cm (21 x 28 ¾ in.) oil on canvas signed lower left 24 x 33 cm (9 ¼ x 12 ¾ in.) ProvenanCe: lickel Gallery, signed lower right new York, usa ProvenanCe: Private Collection, Private collection usa new York $5,000-7,000 $4,000-6,000 244 v

BernarD BuFFeT 1928-1999 (French) officier d'empire iii, 1987 oil on canvas 132 x 89 cm (51 ½ x 34 ¾ in.) signed upper left, dated upper right ProvenanCe: Private collection switzerland. accompanied by Certificate of authenticity dated 5 June 1998 by maurice Garnier.

$80,000-120,000 244 v

$80,000-120,000

245 v

BernarD BuFFeT 1928-1999 (French) le Poisson, 1949 oil on canvas 49 x 79 cm (19 x 31 in.) signed and dated upper right ProvenanCe: Galerie rienzo, new York, usa accompanied by Certificate of authenticity dated 19 February 2010, signed by maurice Garnier. $40,000-60,000 246 v

BernarD BuFFeT 1928-1999 (French) soucis dans un pot a lait, 1985 oil on canvas 73 x 54 cm (28 ½ x 21 in.) signed center right, dated lower right, titled on stretcher ProvenanCe: Ghana art Gallery, new York Gallery maurice Garnier, Paris Collection of Fredy Pachoud, zurich maurice Garnier has kindly confirmed the authenticity of this work.

$50,000-70,000

247 v

THeo ToBiasse b. 1927 (israeli, French) Petite poupee venue de Canaan oil on canvas 54 x 65 cm (21 x 25 ¼ in.) signed upper left, titled lower center $30,000-40,000

248 v

THeo ToBiasse b. 1927 (israeli, French) le reve de l'homme enfante les chimeres oil on canvas 60 x 73 cm (23 ¼ x 28 ½ in.) signed upper left, tilted in center ProvenanCe: French private collection $28,000-36,000 249 v

DaviD alFaro siQueiros 1896-1974 (mexican) Ciudades del futuro, c. 1967 oil on panel 80 x 70 cm (31 ¼ x 27 ½ in.) signed lower right ProvenanCe: Private collection Palm Beach, usa accompanied by copy of Certificate of authenticity issued by legado Cultural David alfaro siqueiros dated June 2 2001 signed by adriana siqueiros $30,000-40,000

José David alfaro siqueiros was born in mexico in 1896 and died in 1974. a social realist painter, he was particularly known for his large murals in fresco that helped establish the mexican mural renaissance, together with Diego rivera and José Clemente orozco. He was also a stalinist who participated in an un- successful attempt to assassinate leon Trotsky in may 1940. although many have said that siqueiros' artistic ventures were frequently “inter- rupted” by his political ones, siqueiros himself believed the two were intricately intertwined. in 1922, siqueiros returned to mexico City to work as a muralist for alvaro obregon’s revolutionary government soon thereafter, siqueiros painted his famous mural Burial of a Worker (1923) in the stairwell of the Colegio Chico. He remained deeply entrenched in labor ac- tivities, in the union as well as the mexican Communist Party, until he was jailed and eventually exiled in the early 1930s. as a muralist, and an artist siqueiros believed art should be public, educational, and ideological. He painted mostly murals and other portraits of the revolution – its goals, its past, and the current oppression of the working classes. Because he was painting a story of human struggle to overcome authoritarian, capitalist rule, he painted the everyday people ideally involved in this struggle. Though his pieces sometimes include landscapes or figures of mexican history and mythol- ogy, these elements often appear as mere accessories to the story of a revolutionary hero or heroes (several works depict the revolutionary "masses," such as the mural at Chapultepec). His interest in the human form developed at the academy in mexico City. His accentuation of the angles of the body, its muscles and joints, can be seen throughout his career in his portrayal of the strong revolutionary body siqueiros was eventually arrested in 1960 for openly attacking the President of mexico and leading protests against the arrests of striking workers and teachers, though the charges were commonly known to be false. numerous protests en- sued, even including an appeal by well-known artists and writers in a new York Times ad in 1961. unjustly imprisoned, siqueiros continued to paint, and his works continued to sell. During that stay, he would make numerous sketches for the project of decorating the Hotel Casino de la selva", owned by manuel suarez y suarez. siqueiros was finally released in spring of 1964 and immediately resumed work on his suspended murals in the actors' union and Chapultepec Castle.

Pedro Luis Correira de Araujo, a French-Brazilian cubist artist was born in Paris in 1874 to a Brazilian sculptor, Gaspare de Araujo and lived most of his youth in Brazil. In 1917 he returned to Paris and dedicated himself to painting. He studied art but remained by choice an autodidact, preferring to keep his artistic liberty rather than chain himself to the artistic conventions of the schools of art. De Araujo saw art as a method of codifying the world, as a vehicle to change the universe. His desire was to rewrite the reality of the human being, to penetrate the myths, a way of thinking which sought to engage in art so as to deal with man’s human condition. This mar- ginalization by choice did not impede him from assiduously socializing with the Parisian avant-garde world being in contact with Pablo Picasso, Fernand Leger and Diego Rivera. In 1917 he replaced Maurice Rene in the management of the Academie Ranson, which had helped in the formation of the Nabis group as well as the development of Eduard Vuillard. In 1918 he founded his own cubist academy at Rue Brea in Paris where he was the first to pro- pose geometry as part of the curriculum. In 1929 he returned for the last time to Brazil. In Rio de Janeiro he was part of the artistic milieu which comprised some of the most important artistic figures of the time- Portinari, Guisnard and Di-Cavalcanti amongst others. He headed for a time the Club d’art Moderne, taught in the Institute of Art at the Federal University and was one of the creators of the Office for the safeguarding of historic and artistic patrimony. Arajuo was an anti-impressionist painter; he did not paint ‘en pleine air’ nor did he show any interest in light. The integrity of his paintings is artificial scenes. Coupling his anti-impressionism with anti-Cezanneism makes him one of those rare artists, who did not use Ce- zanne’s geometrizing landscape. On the contrary his landscapes search for the mythol- ogy behind them and his human figures can be consciously deformed as in the artof expressionists Otto Dix, Grosz or Nolde, although they can be equally symbolist or surrealist. Araujo is near to several different modern artistic-styles, but he will always search to find the one best suited for the subject and that will always run contrary to theacademic. ‘Scene Breton’ from 1925 is a typical genre scene from Araujo’s late-Parisian period. It depicts four Breton women in traditional clothes surrounding a man in high boots seen from the back holding a basket. The scene which at first might strike the viewer as vaguely based on Gauguin’s early paintings of Breton women is set on a checkered stage. It would seem according to masks worn by the people to represent a theater scene, possibly a comedy parodying country life, a theater genre which is called since the Renaissance ‘Peasants plays’ (Commedia Rustica). These usually presented simple characters in daily situations of village life and ridiculed the people’s baseness in a rude and burlesque vane. This spirit is far removed from the scene before us in which daily troubles are not present and the actors seem to the looker to be aloof and detached from the viewer, concentrated in an intricate game of hands, where a fish held casually by the lady actor on the left is the only key to deciphering the hermetic painting. Possibly, like in the rustic village game of hands of the ‘jeux de mourre’ (morra), the artist would like us to guess which of the many meanings is hidden behind the masks of the figures and which style was employed here. This latter subject is far from clear as the viewer is presented with a style whose eclecticism can be based on a wide range of sources from the ephemeral Baroque drawings of folklore clothes to Moise Kisling’s figures of women to the surrealism of Dali. The influence of the French theater though would be Guillaume Apollinaire’s- Les Mamelles de Tiresias, a burlesque surrealist play which in 1917 had great success on the Paris stage. In this play Apollinaire developed for the first time his new surrealist concept of art as a creative disruption of meaning whereby the ordinary connotation of words, objects (fish) and situations are shifted onto the plane of the fantastic. This eclectic and sometimes surrealist and hermetic symbolism would seem to be perfectly in line with the painter’s open aesthetic outlook at art as presented above.

250 v Pedro Araujo Scene bretonne oil on canvas 130 x 97 cm (50 ¾ x 37 ¾ in.) Provenance: The Mayor Gallery, London, UK Guillaume Apollinaire- G. W. Tower, Esq, Brussels (labels on the reverse) Sale: Christies, 1973 Les Mamelles de Tiresias- Dress by Serge Ferat 1917 $28,000-35,000 250 v Pedro Araujo Scene bretonne oil on canvas 130 x 97 cm (50 ¾ x 37 ¾ in.) Provenance: The Mayor Gallery, London, UK G. W. Tower, Esq, Brussels (labels on the reverse) Sale: Christies, 1973 $28,000-35,000 251 252 raul solDi olGa CosTa 1903-1994 (argentinian) 1913-1994 (German/mexican) after the cattle auction lemons, 1969 34 x 87 cm (13 ¼ x 34 in.) oil on canvas signed lower right 60 x 100 cm (23 ½ x 39 in.) signed lower right $6,000-8,000 ProvenanCe: israel embassy, mexico exHiBiTeD: museo de arte moderno mexico, Bosque de Chalputepec $8,000-10,000 253 alBerTo Davila 1912-1988 (Peru) Two Peasant Women oil on canvas 114 x 89 cm (44 ½ x 34 ¾ in.) signed lower left $2,000-4,000

254

Jose loPez-reY 1905-? (mexican) mexican drinkers, 1943 oil on panel 29 x 40 cm (11 ¼ x 15 ½ in.) signed and dated lower left $500-700 255 v maria Helena vieira Da silva 1908-1992 (Portugese, French) untitled, 1953 ink, watercolor and gouache on paper 39 x 26 cm (15 ¼ x 10 ¼ in.) signed and dated lower right ProvenanCe: Private collection alsace, France $18,000-26,000 256

Jean miCHel aTlan 1913-1960 (French) Composition, 1951 oil on canvas 64 x 53 cm (25 x 21 in.) signed and dated lower left accompanied by a letter of provenance dated november 2006, signed by malka Ben-Yossef

$18,000-25,000 257 arman 1928-2005 (French, american) Baroquial weight 81.8 g sculpture in yellow gold 8 cm (3 in.) signed and number 1/8 $5,000-7,000

258 v

viCTor vasarelY 1908-1997 (French, Hungarian) mulyt, 1973 oil on canvas 100 x 100 cm (39 x 39 in.) signed lower center, signed, dated and titled on the reverse Pierre vasarely has kindly confirmed the authenticity of this work

$60,000-80,000

259 v

Gregorio Vardanega b. 1923 (Argentinean) Graphisme vertical sur rond, 1973 oil on canvas 80 x 80 cm (31 x 31 in.) signed and dated lower right signed, titled and dated on the reverse $12,000-18,000 260 v

Martha Boto 1925-2004 (Argentinean) Yeu de reflets, 1963 plexiglas mounted on wood 59 x 59 x 14 cm (23 x 23 x 5 ½ in.) signed, titled and dated on the reverse $20,000-30,000 261 v viCTor vasarelY 1908-1997 (French, Hungarian) Pulsar, 1970 acrylic on masonite 84 x 80 cm (32 ¾ x 31 ¼ in.) signed lower center, signed, dated and titled on the reverse ProvenanCe: Galleria d'arte Falbetti Prato accompanied by a Certificate of authenticity dated 18 January 2010 signed by Pierre vasarely.

$40,000-60,000

262 v

GreGorio varDaneGa b. 1923 (argentinean) untitled (Building blocks) acrylic (unique piece) 67 x 37 x 35 cm (26 x 14 ¼ x 13 ½ in.) signed lower right on the base $8,000-12,000

263 v

marTHa BoTo 1925-2004 (argentinean) Paris, vol 2, 1995 acrylic on wood 20 x 20 cm (7 ¾ x 7 ¾ in.) signed lower right, signed, titled and dated on the reverse $3,000-5,000 262 v

GreGorio varDaneGa b. 1923 (argentinean) untitled (Building blocks) acrylic (unique piece) 67 x 37 x 35 cm (26 x 14 ¼ x 13 ½ in.) signed lower right on the base $8,000-12,000

264 v

263 v Karel aPPel 1921-2006 (Dutch) marTHa BoTo Clown cat 1925-2004 (argentinean) painted wood sculpture 64 x 81 x 15 cm (25 x 31 ½ x 5 ¾ in.) Paris, vol 2, 1995 signed and numbered ea 9/10 acrylic on wood 20 x 20 cm (7 ¾ x 7 ¾ in.) $6,000-8,000 signed lower right, signed, titled and dated on the reverse $3,000-5,000 265 v

YaaCov aGam b. 1928 (israeli) untitled, 1988 acrylic on canvas 100 x 94 cm (39 ¼ x 36 ½ in.) signed and dated lower right $40,000-60,000

266

YaaCov aGam b. 1928 (israeli) Haggadah, Published by Caperpark ltd., 1985 portfolio of 58 serigraphs each individually signed 42 x 52 cm (16 ¼ x 20 ¼ in.) signed and numbered 76/180 $3,000-5,000

267

Daniel KaFri b. 1945 (israeli) King David, c. 1980 bronze, a.P 21 x 24 x 7 cm (8 x 9 x 3 in.) signed on base $3,000-4,000 268

YaaCov aGam b. 1928 (israeli) next year in Jerusalem original painting and collage on paper 57 x 94 cm (22 ¼ x 36 ¾ in.) signed lower left $10,000-15,000 269 mosHe GaT b. 1935 (israeli) mexican laborer, 1959 oil on canvas 120 x 90 cm (46 ¾ x 35 in.) signed, dated and inscribed mexico lower right $6,000-8,000 270

DaviD reeB b. 1956 (israeli) Flower plots, 2007 oil on canvas 70 x 100 cm (27 ¼ x 39 in.) signed and dated on the reverse $3,700-5,200 271 avi sCHWarTz b. 1938 (israeli) old Jaffa oil on masonite 50 x 61 cm (19 ½ x 23 ¾ in.) signed lower left, signed on the reverse $1,200-1,500 272

YaaCov eisenBerG 1897-1966 (israeli) seated woman oil on canvas 49 x 35 cm (19 x 13 ½ in.) signed lower right $2,400-3,000 273 ilan BaruCH b. 1974 (israeli) , David s citadel, Jerusalem, 1999 oil on canvas 31 x 45 cm (12 x 17 ½ in.) signed and dated lower right $3,000-4,000

274

JaCoB CarmelY b. 1949 (israeli) Woman washing her hands oil on canvas 72 x 86 cm (28 x 33 ½ in.) signed lower left, signed and dated on the reverse $1,800-2,500 275 mosHe rosenTHalis 1922-2008 (israeli) Composition oil on paper 35 x 50 cm (13 ½ x 19 ½ in.) signed lower right $800-1,200

276 mYriam DauBer b. 1946 (israeli) Dancing hall, 1999 oil on masonite 30 x 60 cm (11 ¾ x 23 ½ in.) signed and dated lower right $2,000-4,000 275 277 mosHe rosenTHalis YaaCov Wexler 1922-2008 (israeli) 1912-1995 (israeli) Composition Figures in a cafe oil on paper oil on canvas 35 x 50 cm (13 ½ x 19 ½ in.) 65 x 81 cm (25 ¼ x 31 ½ in.) signed lower right signed lower right, signed on the reverse $800-1,200 $4,500-6,500

276 mYriam DauBer b. 1946 (israeli) Dancing hall, 1999 oil on masonite 30 x 60 cm (11 ¾ x 23 ½ in.) signed and dated lower right $2,000-4,000 278

YaaCov Wexler 1912-1995 (israeli) Figures overlooking a port landscape, 1979 oil on canvas 60 x 72 cm (23 ¼ x 28 in.) signed and dated on the reverse $1,200-1,500 279 arieH allWeil 1901-1967 (israeli) landscape gouache on paper mounted on canvas 47 x 61 cm (18 ¼ x 23 ¾ in.) signed lower right $800-1,200

280 zvi mairoviTCH 1911-1974 (israeli) Woman oil on canvas 33 x 24 cm (12 ¾ x 9 ¼ in.) signed lower center $800-1,200 279 arieH allWeil 1901-1967 (israeli) landscape gouache on paper mounted on canvas 47 x 61 cm (18 ¼ x 23 ¾ in.) signed lower right $800-1,200

280 zvi mairoviTCH 1911-1974 (israeli) Woman oil on canvas 281 33 x 24 cm (12 ¾ x 9 ¼ in.) signed lower center amos YasKil $800-1,200 b. 1935 (israeli) Galilee landscape oil on canvas 110 x 120 cm (43 x 46 ¾ in.) signed in Hebrew lower right, signed in english lower left $6,000-8,000

282

zvi sHor 1898-1979 (israeli) Petach Tikva landscape oil on canvas 55 x 74 cm (21 ½ x 28 ¾ in.) signed lower right $2,600-3,200 283

DaviD soussana b. 1944 (israeli) israeli landscape with 3 donkeys oil on canvas 100 x 100 cm (39 x 39 in.) signed lower left, titled on the reverse $4,500-5,500

284

DaviD soussana b. 1944 (israeli) Three figures (unique piece) painted aluminum 27 cm (10 ½ in.) signed on base $600-900 283 285

David Soussana Michael Argov b. 1944 (Israeli) 1920-1982 (Israeli) Israeli landscape Abstract composition, 1964 with 3 donkeys oil on canvas oil on canvas 67 x 51 cm (26 x 20 in.) 100 x 100 cm (39 x 39 in.) signed and dated lower right signed lower left, Provenance: Gallery Ida Kimhe, Tel Aviv titled on the reverse Private collection, Massachusetts $4,500-5,500 $1,000-1,500

286 287

Yehezkel Streichman Avigdor Stematsky 1906-1993 (Israeli) 1908-1989 (Israeli) European landscape, 1966 Composition watercolor on paper pastel and colored crayons on paper 33 x 24 cm (12 ¾ x 9 ¼ in.) 35 x 50 cm (13 ½ x 19 ½ in.) signed and dated lower left signed lower right $500-600 $800-1,200 288

Ben avram b. 1937 (israeli) Bride and groom oil on canvas 60 x 50 cm (23 ¼ x 19 ½ in.) signed lower left $1,800-2,600

289

Daniel KaFri b. 1945 (israeli) King David playing the lyre, 1978 bronze. a.P. h: 20 cm (7 ¾ in.) signed and dated on the back $1,500-2,200 288

Ben avram b. 1937 (israeli) Bride and groom oil on canvas 60 x 50 cm (23 ¼ x 19 ½ in.) signed lower left $1,800-2,600

290

Ben avram b. 1937 (israeli) The greater israel oil on canvas 85 x 120 cm (33 x 46 ¾ in.) signed lower left $5,000-7,000 291 zvi malnoviTzer b. 1945 (israeli) refugees oil on panel 13 x 33 cm (5 x 12 ¾ in.) signed lower right $3,000-5,000 292

Boris sHaPiro b. 1968 (russian/israeli) The Jewish home oil on canvas 80 x 60 cm (31 ¼ x 23 ¼ in.) signed lower right $2,500-3,500 293 menaHem KrieF 294 b. 1928 (French, israeli) Crossing of the red sea Touvia Besanson oil on canvas b. 1980 (israeli) 55 x 140 cm (21 ½ x 54 ½ in.) signed lower left The joy of music oil on canvas $1,800-2,600 with painted wooden frame 99 x 58 cm (38 ½ x 22 ½ in.) signed $1,800-2,600

295

WolF BanDureK 1906-1972 (Polish, Paraguayan) The errant Jew oil on canvas 64 x 50 cm (25 x 19 ½ in.) signed lower left $6,500-7,500

Wolf Bandurek (b Dobrzyn, 1906; d Buenos aires, argentina, 1972). Paraguayan painter and engraver of Polish birth. He studied at the national academy of Fine arts in Poznan and the Hochschule für Bildende Künste in Düsseldorf. as a result of nazi persecution he settled in Paraguay in 1936, where his work was particularly influential on the development of late 20th-century art. although he was not an innovator from the point of view of form, he introduced into painting a dramatic content drawn from Paraguayan history and comment on social injustice and recent wars, thus giving new life to a school of painting that until then had been bucolic. His sombre and moving oil paintings had vitality and an impassioned expressiveness. in the late 1930s and early 1940s this intensity of expression in his work provided a useful complement to the formal clarity of Jaime Bestard; both helped to undermine the prevailing academicism of art in Paraguay. Bandurek's black-and-white wood engravings confirm the drama in his work and his persisting social concern. They were published in Buenos aires in 1945 in a series entitled Guaraní land. 295

WolF BanDureK 1906-1972 (Polish, Paraguayan) The errant Jew oil on canvas 64 x 50 cm (25 x 19 ½ in.) signed lower left $6,500-7,500

296

arTHur KolniK 1890-1972 (lithuanian) Portrait of itzik manger oil on panel 33 x 24 cm (12 ¾ x 9 ¼ in.) signed lower left, titled center $3,000-4,000 297 nelson romero b. 1951 (uruguayan) un banquero y su familia, 2008 colored pencil on paper 36 x 53 cm (14 x 20 ¾ in.) signed titled and dated lower left $800-1,000

298 nelson romero b. 1951 (uruguayan) el sueno del bebedor, 1997 colored pencil and ink on paper 47 x 67 cm (18 ¼ x 26 in.) signed, tilted and dated lower left $1,000-1,500 297 nelson romero b. 1951 (uruguayan) un banquero y su familia, 2008 colored pencil on paper 36 x 53 cm (14 x 20 ¾ in.) signed titled and dated lower left $800-1,000

298 nelson romero b. 1951 (uruguayan) el sueno del bebedor, 1997 colored pencil and ink on paper 47 x 67 cm (18 ¼ x 26 in.) signed, tilted and dated lower left $1,000-1,500

299

eDuarDo unGar b. 1946 (argentinean) Billiard, 1993 acrylic on masonite 41 x 33 cm (16 x 12 ¾ in.) signed lower right, signed and tilted on the reverse $1,500-2,000 300 uniDenTiFieD HunGarian arTisT late 19th c. French landscape oil on canvas 73 x 92 cm (28 ½ x 36 in.) signed lower left $2,500-3,500 301 v marie Felix HiPPolYTe-luCas 1854-1925 (French) nature morte a la mandoline et au masque, 1887 oil on canvas 55 x 32 cm (21 ½ x 12 ½ in.) signed and dated lower left $2,000-3,000 301 v marie Felix HiPPolYTe-luCas 1854-1925 (French) nature morte a la mandoline et au masque, 1887 oil on canvas 55 x 32 cm (21 ½ x 12 ½ in.) signed and dated lower left $2,000-3,000

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Chaim soutine, Bouquet de fleurs, 1918 sold for $962,500 1 December 2009 arT is our name

Reuven Rubin, Safed in Galilee, 1927, o/c, 73x92 cm, estimate upon request Schedule of Events

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I hereby request that Matsart bid on my behalf on the lots as listed above, yet not to exceed my maximum bid that I have fixed for each lot as above. I understand that if I am the successful bidder, I am obligatedtopay in addition to the hammer price a buyer’s premium in the sum of 25% on the intitial $50,000, 20% balance beyond $50,000 (per lot), and 12% on balance beyond $1,000,000 (per lot). To this will be added VAT where applicable. Lots marked ** are imported and VAT must also be added to hammer price where applicabale. It is my understanding that bid is in accordance and subject to the conditions of purchase as published in this catalogue. In order to insure acceptance of the bids, potential buyers bidding for the first time with Matsart are requested to furnish us with references. Please refer to paragraphs 6 and 11 of the conditions of purchase. signAture dAte

Tel-Aviv: 71 Ibn Gvirol St. Gan Ha'ir, Tel: +972-3-5235577 Jerusalem: 22 King David St. Tel: +972-2-6234585 Herzliyya: " Ar e na " Ma l l, Tel: +972-9-9549119 www.jb-jewelers.com email: [email protected] Conditions of purchase

1. The auction will be conducted by the auctioneer's rep- 8. Payment for the article, plus a buyer’s premium of 25% on resentatives of matsart auctioneers & appraisers (mat- the first $50,000 and 20% balance beyond $50,000, and sart) 12% on balance beyond $1,000,000 (per lot), plus vaT on 2. The auctioneers are the sole authority at any time to the buyer’s premium, will be paid in full immediately and determine the winner in the auction or to withdraw not later than three days from the date of sale. From the any lot or lots from the sale or to re-offer and resell it, seller we deduct seller's commission plus vaT on commis- all according to their sole judgment, including yet not sion. Payment will be accepted only in these manors: limited to prior to the auction, during the auction, and Cash, Checks drawn on us or israeli banks (please allow following the auction. Purchasing an item is legitimate six weeks for overseas checks to clear), money transfers only when the auctioneer lowers his hammer and an- in and outside israel, Credit cards: visa, american express nounces a card number of a participant in the room or and mastercard (with an addition of 3.5% on total pay- a bidder in writing or a bidder by phone or by internet. ment via credit card). all bank fees in regards to transfers, notwithstanding the above, it is the auctioneers sole both those of the buyer and those of matsart, are the re- judgement to reopen a lot and/or cancel a sale. sponsibility and at the expense of the buyer. 3. The prices quoted in the catalogue are estimate prices 9. special expenses including yet not limited to, forward- of the lots. These prices are estimates, normally different ing in and outside israel and the forwarding insurance, from the minimum prices. a sale will be only at the mini- special packaging, messengers etc., will be borne by the mum price or above, all according to the auctioneers buyer. it is the responsibility of the high bidder to insure discretion. the purchase within three days after sale. should the high 4. The auction will be conducted in u.s. dollars. Payment bidder wish, he may inform matsart to insure the work on is in us$ or in n.i.s., according to the high rate of ex- his behalf and at his expense. change published by Bank leumi le'israel on the day of 10 . all expenses caused by storing the article in the company the sale, or the day of the payment, the higher of the after final date for collecting the article will be charged to two. buyer's accounts. 5. The highest bidder acknowledged by the auctioneer 11. attached herewith a form enabling buyers unable to be shall be the buyer (as above), from among the bidders present at the time of auction to make their bids. By this present in the auction room at the time of sale or the form potential buyers authorize matsart representatives bidders in writing or by phone. The bidders in writing or to represent them during the auction in the interest of pur- by phone authorize matsart. representatives to repre- chasing. This service is given at no additional fee, beyond sent them and to bid on their behalf at the time of auc- the buyer’s premium as above article 8. a bid can not be tion in the interest of purchasing. revoked in any form and is an obligation for purchasing. 6. The purchaser, whether present in the auction room 12. offers can be delivered through fax: +972-2-6257779 or by at the time of sale or bidding by writing or by phone, email: [email protected]. whether for himself or for any third party, will be irre- 13. all parties interested to participate in an auction must vocably committed to pay for the article and to ac- obtain, prior to bidding, a paddle number, which serves cept it. The auctioneers and/or matsart may take any as identification in the event that the participant isthe measures necessary for realizing the commitment, i.e. successful high bidder of any lot in the sale. to force the winner to pay expenses, bank interest and/ 14. We recommend to our customers to make sure, in ad- or inflation index appropriation, to sue compensations, vance, the availability of place in the auction. seats will to withhold the articles that the buyer purchased or left be reserved until 15 minutes before the sale. in company's hold, to deduct the debt from any sum of 15. items consigned to matsart may not be withdrawn with- money that matsart owes the winner. out prior permission and agreement by matsart. once an 7. all lots are sold "as is", neither matsart nor the seller item has been sold and paid for in full, the consignor shall makes any express or implied warranty of any kind receive the sum subject to paragraph 7 above. unsold with respect to the description, attribution, literature, lots will be returned to its owner. sale of a lot by matsart former owners, period, provenance, condition and/or after the auction is legitimate. frame concerning the lots offered in the auction. no 16. Certain lots in this auction are subject to a minimum statement in the sale or the invoice or the bill of sale price, as concluded with the consignor. The auctioneer given to purchasers shall be deemed such a warranty, is responsible to keep the minimum price of the lots in this the auctioneer accepts information also from data auction. Certain lots may not be subjected to any mini- given by the seller if he trusts his reliability. all bidders mum price. are responsible to examine the work and authenticity 17. v by a lot number indicates an item that arrived from outout- prior to bidding. nonetheless, should the high bidder side israel and is subjected to the israeli tax laws meaning wish to show the work to a recognized expert (accept- a 16 % value added tax on the purchase price and the able to matsart), he must pay for the work and arrange buyer's commission. This tax will not be collected from for- (at his expense) and show to the expert and receive eign residents paying in foreign currency and exporting a response within 30 days of sale. Prior arrangements the item(s) via a shipper recognized by matsart. must be made with matsart to allow that payment be 18. it is important and recommended to examine all items withheld from the seller. should the expert declare that before bidding. The details of this exhibition are published the painting is not authentic, matsart will refund money in the catalogue. paid for lot (less expenses) under the condition that 19. all lots must be paid for and collected not later than 3 confirmation of lack of authenticity is received within business days following the auction.. 30 days of sale. To remove all doubt, following 30 days, matsart will have no responsibility.

Index Agam, Yaacov - 265, 266, 268 Fima, Ephraim Roeytenberg - 129 Allweil, Arieh - 50, 279 Friesz, Achille Emile Othon - 192 Altmann, Alexandre - 230 Gall, Francois - 243 Appel, Karel - 264 Gat, Moshe - 269 Araujo, Pedro - 250 Gershuni, Moshe - 137, 138 Ardon, Mordecai - 122 Geva, Tsibi - 141 Argov, Michael - 285 Gliksberg, Haim - 36 Arman, - 257 Gross, Michael - 123, 124 Atlan, Jean Michel - 256 Guillaumin, Armand - 189 Bak, Samuel - 104, 105 Gutman, Nachum - 32, 33, 59, 60 Bandurek, Wolf - 295 Harper, Henry Andrew - 4 Baruch, Ilan - 146, 273 Hayet, Louis - 194 Ben Avram, - 288, 290 Hilverdink, Johannes Jacobus - 1 Ben David, Shmuel - 11 Hippolyte-Lucas, Marie Felx - 301 Ben Tsvi, Asaf - 142 Hoschede-Monet, Blanche - 182 Bergner, Yosl - 106, 108 thru 121 Hungarian artist - 300 Besanson, Touvia - 294 Hunt, Millson - 2, 3 Betzer, Anat - 143, 144 Bezem, Nafatali - 107 Israels, Jozef - 215, 216, 217 Blanche, Jacques Emile - 239 Janco, Marcel - 63, 64, 65, 66, 68, 69 Blatas, Arbit - 233 Blum, Ludwig - 37, 38, 55, 56, 57, 58 Kadar, Bela - 224 Boilly, Louis Leopold - 184 Kadishman, Menashe - 147 Bokobza, Elihaou Eric - 155 Kafri, Daniel - 267, 289 Boto, Martha - 260, 263 Kahana, Aharon - 73, 74, 75, 76, 77 Buffet, Bernard - 244, 245, 246 Katz, Mane - 207 thru 214 Burliuk, David Davidovich - 228 Kisling, Moise - 119, 200, 201, 202 Kogan, Rachel - 236 Camoin, Charles - 188, 191 Kolnik, Arthur - 296 Carmely, Jacob - 274 Kossonogi, Joseph - 29, 44, 45 Castel, Moshe - 78, 79, 80 Kremegne, Pinchus - 232, 234, 235 Chagall, Marc - 204 Krief, Menahem - 293 Charuvi, Shmuel - 6, 7, 8, 9, 10, 12 Kupferman, Moshe - 134, 135, 136 Choubrac, Alfred - 185 Cohen, Gabriel - 152, 153 Le Sidaner, Henri - 180 Costa, Olga - 252 Lellouche, Ofer - 156 Levanon, Mordechai - 46, 48, 49 Dauber, Myriam - 276 Levitan, Isaak Il’ich - 223 Davila, Alberto - 253 Lev-Landau, Samuel David - 227 Dejez, Aaron - 52 Levy, Raanan - 154 Derain, Andre - 196 Litvinovsky, Pinchas - 17, 18, 90, 91 Eisenberg, Yaacov - 272 Lopez-Rey, Jose - 254 Eisenscher, Yaacov - 84, 85, 87, 88, 89 Lubin, Arieh - 34, 51, 81, 82, 83 Elchanani, Arie - 15 Maclet, Elisee - 240, 241 Schur, Aaron Shaul - 5 Mairovitch, Zvi - 86, 130, 131, 132, 133, 280 Schwartz, Avi - 271 Malnovitzer, Zvi - 159, 291 Schwartz, Buky - 139 Marcus Kaete, Ephraim - 53 Shapiro, Boris - 292 Martin, Henri Jean Guillaume - 187 Shemi, Menahem - 39, 40, 41, 42, 43 Martin-Ferriere, Jacques - 193, 242 Shor, Zvi - 282 Maufra, Maxime - 195 Simon, Yohanan - 92 thru 100 Mintchine, Abraham - 205, 206 Siqueiros, David Alfaro - 249 Mokady, Moshe - 70, 71 Soldi, Raul - 251 Montezin, Pierre Eugene - 238 Soussana, David - 283, 284 Moretti, Lucien Philippe - 237 Stematsky, Avigdor - 125, 126, 287 Muter, Mela - 229 Streichman, Yehezkel - 127, 286 Struck, Hermann - 13 Naaman, Michal - 140 Narinski (Naroni), Shlomo - 47 Tagger, Sionah - 35 Naton, Avraham - 30, 31, 61, 62 Tobiasse, Theo - 247, 248 Newmann, Abraham - 72 Trebacz, Maurycy - 222 Pann, Abel - 14, 19, 20 Ungar, Eduardo - 299 Pascin, Jules - 186 Ury, Lesser - 218, 219 Picasso, Pablo - 203 Valtat, Louis - 190 Pichhadze, Meir - 148, 149, 150, 151 Vardanega, Gregorio - 259, 262 Pilichowski, Leopold - 221 Vasarely, Victor - 258, 261 Pissarro, Lelia - 178, 179 Vieira da Silva, Maria Helena - 255 Pissarro, Camille - 160, 161 Vlaminck, Maurice de - 197, 198 Pissarro, Lucien - 162 Pissarro, Paul-Emile - 173, 175 Wexler, Yaacov - 277, 278 Pissarro, Georges Manzana - 163 thru168, 170 Widhopff, David Osipovitch - 226 Pissarro, Ludovic Rodo - 171, 172, 174 Yaskil, Amos - 157, 158, 281 Pissarro, Orovida Camille - 169 Pissarro, Hugues Claude - 176, 177 Zaritzky, Joseph - 128 Porbuchrai, Yehuda - 145 Pressmane, Joseph - 231 Price, Julius Mendes - 183 ELISHA KATAN Priechenfried, Heinrich - 220 Photography Reeb, David - 270 [email protected] Renoir, Pierre-Auguste - 181 Romero, Nelson - 297, 298 ERIC BRAKHA Rosenthalis, Moshe - 275 Design & Graphisms Rubin, Reuven - 21thru 28 [email protected] Schatz, Boris - 16 Scheiber, Hugo - 225 BENJAMIN MIZRAHI Schlesinger, Shmuel - 54, 67 Production Schloss, Ruth - 101, 102, 103 [email protected]

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