The Philip I. and Muriel M. Berman Papers: Collection I
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AM-CONTEXT Closing Day Releasepc Final
MIAMI ART WEEK 2012 BRINGS RECORD-BREAKING SALES FOR ART MIAMI AND CONTEXT ART MIAMI STRONGEST SALES & ATTENDANCE IN THE FAIR’S 23 YEAR HISTORY MIAMI, Fla. – (Dec. 12, 2012) – In its 23rd year as the anchor fair to the city of Miami, Art Miami, the premiere international contemporary and modern art fair and its new sister fair CONTEXT Art Miami closed with record breaking attendance and sales in excess of $50 million with many galleries selling important works to major museums, private foundations and international collectors. Within hours of the opening, gallery owners were reporting extraordinary, unprecedented six & seven figure dollar sales with a number selling out their booths before fair's end. Over 60,000 international collectors, museum professionals, art world luminaries and enthusiasts visited Art Miami and CONTEXT Art Miami throughout the week with over 11,000 patrons attending the exclusive VIP Preview that took place on Tuesday Dec 4 which benefited the Miami Art Museum. New on the scene, Art Miami's sister fair, CONTEXT Art Miami in its inaugural edition proved to be one of the strongest markets to acquire emerging and cutting-edge art with several galleries selling out their booths. "We have been at every Art Miami and this was probably the best of all. We met a number of new collectors, sold to two museums and generally had a very positive experience. We were regularly told by collectors how much they enjoy the buzz at Art Miami and certainly it would seem the galleries did good business. We do several prestigious fairs around the world and for the second year, Art Miami was the best," Peter Osborne, Gallery Director. -
Diocesan Schools
DIOCESAN SCHOOLS S1.0 SF1 Book Listing Schools in Philadelphia, 1914-1926 S1.0 SF2 Scrapbook on Reverend Philip McDevitt’s tenure as Superintendent of Catholic Schools, 1914-1929 S1.0 SF3 06/03/1919, corporators meeting: West Philadelphia Catholic High School for Boys C2.0 SF4 Parochial Schools Participation in Sesquicentennial, International Exposition, 1926 C4.0 SF5 Music syllabus data 1927, requirements for teachers of music C4.0 SF6 Major Courses in High Schools, listing (passing grade – 70) 1914-1929 C4.0 SF7 Credentials Bureau of Pennsylvania – general information on texts and schedules in high schools c. 1914-1929 E1.0 SF8 N.C.E.A. (National Catholic Educational Association) 1929, Association of Colleges and Secondary Schools of the Middle States, 1931 E1.0 SF9 Catholic Education Association of Pennsylvania, 1928-1934 E1.0 SF10 The Commission on Secondary Schools of the Association of Colleges and secondary Schools of the Middle States and Maryland – General information and list of accredited secondary schools, 05/01/1928 E1.0 SF11 Preparation and convention of Catholic Educational Association, 12/27-28, 1929 E2.0 SF12 Results of the Pressey diagnostic tests in English Composition for Philadelphia parish schools, 06/15/1928 F1.0 SF13 Report of School savings – Beneficial Savings Bank, 1928, 1929 H1.0 SF14 To Miss Mary Spencer, from John J. Bonner, 03/08/1927, Health Education H1.0 SF15 To Reverend John J. Bonner, from Department of Public Health, 10/25/1928, 04/05/1929, investigation of health conditions in Parochial Schools H1.0 SF16 To Reverend John J. -
Lynn Chadwick
Lynn Chadwick 1914-2003 Born in London, UK Lived and worked in the UK SELECTED SOLO & TWO-MAN EXHIBITIONS 2019 Sculpture at RHS Wisley, Surrey, UK (forthcoming) Alberto Giacometti: A Line Through Time, Vancouver Art Gallery, CA (forthcoming) Beast of the Times, The Georg Kolbe Museum, Berlin, DE (forthcoming) 2018 GIACOMETTI-CHADWICK: FACING FEAR, Museum de Fundatie, Zwolle, NL Lynn Chadwick at Le Bristol, Le Bristol, Paris, FR Beasts, Sainsbury Centre for Visual Arts, Norwich, UK Lynn Chadwick at Cliveden, The National Trust’s Cliveden, Buckinghamshire, UK 2017 Lynn Chadwick, Ashmolean Museum, Oxford, UK (ongoing) 2016 Lynn Chadwick, The Rotunda, One Exchange Square, Hong Kong, HK (organised by McNamara Art Projects) 2015 Conjunction: Lynn Chadwick and Geoffrey Clarke, Pangolin London, London, UK Lynn Chadwick, Skulturenpark Wuppertal, Wuppertal, DE Lynn Chadwick -Draughtsman, Gallery Pangolin, Chalford, UK Lynn Chadwick, Retrospective for Two Gardens, Bardini Gardens and Boboli Gardens, Florence, IT Lynn Chadwick, Tremenheere Sculpture Gardens, Penzance, UK 2014 The Maker’s Studio, Museum in the Park, Gloucestershire, UK Lynn Chadwick a Centenary Exhibition, Osborne Samuel, London, UK Lynn Chadwick, Blain|Southern, London, UK Lynn Chadwick, Blain|Southern, Berlin, DE Lynn Chadwick, Blain|Di Donna, New York, US Lynn Chadwick RA, Royal Academy of Arts Courtyard, London, UK 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Blackwell Arts and Crafts House, Cumbria, UK 2012 Lynn Chadwick. The Complete Candelabra 1959-1996, Willer, London, UK Lynn Chadwick, Beaux Arts, London, UK 2011 Lynn Chadwick: The Couple 1954-1990, Pangolin London, London, UK Lynn Chadwick (with David Farrell photographs), Osborne Samuel, London, UK Lynn Chadwick. -
Israeli) Star of Hope Agamograph 29 X 31 Cm (11 X 12 In.) Signed Lower Right, Numbered '8/25' Lower Left
1* Yaacov Agam b.1928 (Israeli) Star of Hope agamograph 29 x 31 cm (11 x 12 in.) signed lower right, numbered '8/25' lower left $1,500-1,800 2* Yaacov Agam b.1928 (Israeli) Untitled color silkscreen mounted on panel 57 x 62 cm (22 x 24 in.) signed lower right, numbered 'L/CXLIV' lower left $400-500 3 Menashe Kadishman 1932-2015 (Israeli) Sheep head acrylic on canvas 30 x 30 cm (12 x 12 in.) signed lower left and again on the reverse $450-550 4 Menashe Kadishman 1932-2015 (Israeli) Motherland charcoal on paper 27 x 35 cm (11 x 14 in.) signed lower right $150-220 5 Menashe Kadishman 1932-2015 (Israeli) Valley of sadness pencil on paper 27 x 35 cm (11 x 14 in.) signed lower right $100-150 6* Ruth Schloss 1922-2013 (Israeli) 1 Girl in red dress, 1965 oil on canvas 74 x 50 cm (29 x 20 in.) signed lower right Provenance: Private collection, USA. $3,500-4,000 7 Sami Briss b.1930 (Israeli, French) Doves oil on wood 8 x 10 cm (3 x 4 in.) signed lower center $500-650 8 Nahum Gilboa b.1917 (Israeli) Rural landscape with wooden bridge mixed media on canvasboard 23 x 30 cm (9 x 12 in.) signed lower right, signed and titled on the reverse $1,800-2,200 9 Audrey Bergner b.1927 (Israeli) Flutist oil on canvas 40 x 30 cm (16 x 12 in.) signed lower right, signed and titled on the reverse $4,800-5,500 10 Yohanan Simon 1905-1976 (Israeli) Vegetarian Evolution, 1971 oil on canvas 46 x 54 cm (18 x 21 in.) signed in English lower left, signed in Hebrew and dated lower right, signed, dated and titled on the stretcher $8,000-10,000 11* Yohanan Simon 1905-1976 (Israeli) Wedding, 1969 2 oil on canvas 15 x 23 cm (6 x 9 in.) signed in English lower left and in Hebrew lower right $2,200-2,500 12 Menashe Kadishman 1932-2015 (Israeli) Fallow deer iron cut-out 34 x 30 x 2 cm (13 x 12 x 1 in.) initialled $1,400-1,600 13 Naftali Bezem b. -
About Your Next Sale
About your next sale About your sale Title of the sale Interiors 16 Place and date of the sale April 17, 2016| Tel Aviv Hours 7:00 pm Buyer Premium % 15% commission Place and Dates of the exhibition (before the sale) Matsart Tel Aviv Gallery 15 Frishman St. Tel Aviv Opening hours of the exhibition PREVIEW & AUCTION 15 Frishman St. Tel Aviv Sun-Thu 11 am - 6 pm Fri - 11 am - 3 pm Names of the valuators Oren Migdal / Lucien Krief Expert Email + number phone used by customers to ask you questions about the Yehudit Ratzabi sale [email protected] +972-2-625109 / -972-3-3810001 1 Menashe Kadishman 1932-2015 (Israeli) Sheep head acrylic on canvas 30 x 30 cm (12 x 12 in.) signed lower left and again on the reverse Other Notes: Accompanied by a certificate of authenticity signed by the artist. Location: Israel. For estimated delivery time please contact us. $600-800 2 Menashe Kadishman 1932-2015 (Israeli) Herd of sheep panda on paper 36 x 28 cm (14 x 11 in.) signed lower right Other Notes: Location: Israel. For estimated delivery time please contact us. $120-180 3* Yohanan Simon 1905-1976 (Israeli) Surrealist landscape, 1964 oil on canvas 36 x 46 cm (14 x 18 in.) signed in English lower left, signed in Hebrew and dated lower right, inscribed on the reverse Other Notes: Location: USA. For estimated delivery time please contact us. $4,800-5,500 4 Gila Stein b.1945 (Israeli) Mother and child bronze 24 x 16 x 12 cm (9 x 6 x 5 in.) signed and numbered '8/25' Other Notes: Location: Israel. -
Lenten Ember Days
IN THIS ISSUE Because We Are Catholic ...........2 Amazon papal document ...........5 Lightposts column ...................10 Evangelization training .............15 Catholic Home Missions ............2 Our Lenten obligation ................6 Bioethics column .....................12 Archbishop installed ................16 Senator visits school .................3 Discerning for men ....................7 Lenten dinners, events ............13 VOL. 32, NO. 4 | FEBRUARY 20, 2020 OFFICE OF THE BISHOP Mailing Address POST OFFICE BOX F ALLENTOWN, PENNSYLVANIA 4029 WEST TILGHMAN STREET 18105-1538 ALLENTOWN, PENNSYLVANIA 18104 (610) 437-0755 Fax (610) 433-7822 Lent 2020 My dear Brothers and Sisters in Christ, Mass for World Day of the Sick at Holy Family Manor. (Photos by John Simitz) As another Lenten Season unfolds for us, I would like to reflect upon something that is impacting our Church and society greatly: Anger. Mass celebrated for It seems everywhere we look, we see expressions of anger. Anger in and at the Church; anger in and at Washing- ton; anger in and among nations; anger in families; anger in social media. In my travels around the Diocese, I often World Day of the Sick hear many who are concerned about the coarseness in our society. Perhaps during this Lenten Season, a good way for us to reflect upon the anger in our lives and in society is to do New logo unveiled an examination of conscience based on that very popular Lenten devotion, The Stations of the Cross. In these fourteen stops along the way of Our Lord’s Passion and Death, we see an example of patience and suffering com- at Holy Family Manor bined in one total act of selfless love. -
The PEOPLE of Desales UNIVERSITY
The PEOPLE of DeSALES UNIVERSITY St. Francis de Sales (1567-1622) Bishop of Geneva Doctor of the Church patron saint of deaf, journalists St. Jane de Chantal (1572-1641) co-founder of the Visitation of Holy Mary St. Margaret Mary Alacoque (1647-1690) Visitation nun patron of the Sacred Heart St. Leonie Aviat (1844-1914) founder of the Oblate Sisters of St. Francis de Sales Blessed Louis Brisson (1817-1908) founder of the Oblate Sisters & Oblates of St. Francis de Sales Venerable Mary de Sales Chappuis (1793-1875) Visitation nun inspired Fr. Brisson to found OSFS Fr. Joseph Marechaux, OSFS (1859-1944) the first Oblate in America who served as chaplain to the Sisters of the Divine Compassion in New York Fr. Charles Fromentin, OSFS (1861-1940) first superior of the Oblates in America and first principal of the Salesianum school (Wilmington, DE) Fr. James Isenring, OSFS (1862-1923) chaplain to the Visitation monastery in Wilmington (DE) and first master of novices in America Fr. Louis Henry Jacquier, OSFS (1873-1946) first resident priest in the first Oblate parish in Salisbury (MD) Fr. J. Francis Tucker, OSFS (1889-1972) first American-born Oblate, chaplain to Prince Rainier (Monaco), only American to have met Fr. Brisson Fr. Thomas Lawless, OSFS (1891-1966) provincial treasurer at the founding of DSU Fr. John Conmy, OSFS (1910-2006) provincial superior at the founding and first chairman of the board of trustees Fr. John Tocik, OSFS (1908-1965) instrumental in building the physical structures at DSU Fr. William Buckley, OSFS (1907-1970) first American to be elected Superior General of the Oblates Fr. -
Avigdor W.G. Posèq Bibliography
Avigdor W.G. Posèq Bibliography Books: 1974 – The Lunette: A Study in the Role of the Arch-Outlined Format in the Design and Content of Italian Murals of the Renaissance, Jerusalem: Hebrew University PhD 1978 – Format in Painting, Tel-Aviv: Tcherikover Tel-Aviv: Tcherikover ,פרספקטיבה – 1982 2001 – Soutine: His Jewish Modality, London: Book Guild 2006 – Jacques Lipchitz: Maker of Jewish Sculpture, Jerusalem: Academon 2007 – Left and Right in Painting and in the Related Arts, Jerusalem: Academon 2008 – Bernini Revisited: New Insights into his Work, Jerusalem: Academon 2010 – Igael Tumarkin: A Study in his Imagery, Jerusalem: Magnes Articles: 1983 – “The ‘Terribilissimà art’ of Foreshortening in the Mannerist Theory of Art,” in Norms and Variations: Es says in Honor of Moshe Barasch, Jerusalem: Magnes: 80-103 “העקדה של בית אלפא ובעיית הפרספקטיבה באמנות היהודית העתיקה”, רימונים 2: 22-31 – 1985 “The Hieroglyphic Mode of Arcimboldo’s Imagery,” Hebrew University Studies in Literature and Arts 13/2: 202-213 1986 – “Jacques Lipchitz: Biblical and Midrashic Themes,” Proceedings of the 9th World Congress of Jewish Studies, Jerusalem, D 2: 9-16 1986-87 – “Five Allegorical Self-Portraits of Igael Tumarkin,” Jewish Art 12-13: 320-334 1987 – “A Note on Caravaggio’s Sleeping Amor,” Source 6 (4): 27-31 1988 – “An Affinity between the Comic and the Sublime in Pictorial Imagery,” Psychoanalytic Perspectives on Art 3: 3-17 “Tumarkin and the Feminine Archetype,” Psychoanalytic Perspectives on Art3: 285-299 “Caravaggio’s Pastor Friso,” Source 8:1 (Fall): 13-17 1989 – “The Butcher’s Dialogue: The Motif of the Hanging Carcass in Modern Jewish Art,” Proceedings of the Tenth World Congress of Jewish Studies, div. -
Lynn Chadwick out of the Shadows Unseen Sculpture of the 1960S
LYNN CHADWICK OUT OF THE SHADOWS UNSEEN SCULPTURE OF THE 1960S 1 INTRODUCTION ince my childhood in Africa I have been fascinated and stimulated by Lynn SChadwick’s work. I was drawn both by the imagery and the tangible making process which for the first time enabled my child’s mind to respond to and connect with modern sculpture in a spontaneous way. I was moved by the strange animalistic figures and intrigued by the lines fanning across their surfaces. I could see that the lines were structural but also loved the way they appeared to energise the forms they described. I remember scrutinising photographs of Lynn’s sculptures in books and catalogues. Sometimes the same piece appeared in two books but illustrated from different angles which gave me a better understanding of how it was constructed. The connection in my mind was simple. I loved skeletons and bones of all kinds and morbidly collected dead animals that had dried out in the sun, the skin shrinking tightly over the bones beneath. These mummified remains were somehow more redolent of their struggle for life than if they were alive, furred and feathered and to me, Lynn’s sculpture was animated by an equal vivacity. His structures seemed a natural and logical way to make an object. Around me I could see other structures that had a similar economy of means; my grandmother’s wire egg basket, the tissue paper and bamboo kites I built and the pole and mud constructions of the African houses and granaries. This fascination gave me a deep empathy with Lynn’s working method and may eventually have contributed to the success of my relationship with him, casting his work for over twenty years. -
Extensions of Remarks
February 25, 1992 EXTENSIONS OF REMARKS 3397 EXTENSIONS OF REMARKS THE PEACE PROCESS IN EL Jesuit University of Central America and losing the crop and thus El Salvador's sec SALVADOR brutally killed six priests, a housekeeper and ond-largest source of foreign capital after her daughter. · the United States' contribution to the war Salvadorans long for assurances that these effort. If the majority of people were gain HON. MICHAEL R. McNULlY massacres will end. They know it is not fully employed in a stable economy, there OF NEW YORK enough to sign a document saying "the would be no workers for the harvest. The IN THE HOUSE OF REPRESENTATIVES Armed Forces and the F.M.L.N. will respect Salvadoran export economy, therefore, de human rights." Such assurances have been pends as much on seasonal unemployment Tuesday, February 25, 1992 offered in the past. Called, variously, "mes and underemployment (from February until Mr. McNULTY. Mr. Speaker, one of my con sages," " symbols, " "indications" and "signs October) as on available labor from Novem stituents, Sister Jane Brooks, CSJ, was kind of peace," they have been ineffectual. Mas ber until January. The wages from the harvest are low and enough to send me a very important article sacres are not the cause of El Salvador's problems, they are a consequence of larger are used to purchase clothing or shoes for entitled, "The Peace Process in El Salvador injustices. The dialogue for peace must ad the children and possibly a few Christmas (A Hermeneutic of Suspicion)," by the Rev dress the underlying causes of the conflict as presents. -
'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. -
ROBERT ADAMS (British, 1917-1984)
ROBERT ADAMS (British, 1917-1984) “I am concerned with energy, a physical property inherent in metal, [and] in contrasts between linear forces and masses, between solid and open areas … the aim is stability and movement in one form.” (R. Adams, 1966, quoted in A. Grieve, 1992, pp. 109-111) Robert Adams was born in Northampton, England, in October 1917. He has been called “the neglected genius of post-war British sculpture” by critics. In 1937, Adams began attending evening classes in life drawing and painting at the Northampton School of Art. Some of Adam’s first-ever sculptures were also exhibited in London between 1942 and 1944 as part of a series of art shows for artists working in the Civil Defence, which Adams joined during the Second World War. He followed this with his first one-man exhibition at Gimpel Fils Gallery, London, in 1947, before starting a 10-year teaching career in 1949 at the Central School of Art and Design in London. It was during this time that Adams connected with a group of abstract painters – importantly Victor Pasmore, Adrian Heath and Kenneth and Mary Martin – finding a mutual interest in Constructivist aesthetics and in capturing movement. In 1948, Adams’ stylistic move towards abstraction was further developed when he visited Paris and seeing the sculpture of Pablo Picasso, Julio Gonzales, Constantine Brancusi and Henry Laurens. As such, Adams’ affiliation with his fellow English carvers, such as Henry Moore and Barbara Hepworth, extended only as far as an initial desire to carve in stone and wood. Unlike his contemporaries, Adams did not appear to show much interest in the exploration of the human form or its relationship to the landscape.