Auction 80 - Part I - Jewish and Israeli History, Art and Culture
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Michail Grobman (born 1939), там, на северном море [There, at the North Sea], 1976. Autolithograph.
Two copies. Signed in pencil and numbered, from 356.
35X24.5 cm. Good condition. Some stains on the margins.
Michail Grobman (b. 1939), Russian-Israeli painter and poet, native of Moscow. Among the founders of the Second Russian Avant-Garde – a title he himself coined – in the Soviet Union in the 1960s. Immigrated to Israel in 1971. Established the Leviathan Group in 1975 in collaboration with Avraham Ofek and Samuel Ackerman. The style of the group represented a blend of contemporary art, Jewish themes, symbolism, and metaphysics. In the manifesto entitled "The Leviathan Declaration, " publicized in 1976, Grobman set forth the group's goals: "Our joint appearance is an incipient attempt to create an inclusive national style that befits the spirit of the building of the New Israel […], our political basis [is] Zionism. Our spiritual basis – Jewish mysticism. Three foundations define our artistic stance: 1. Primitivism 2. Symbol 3. Letter."
In an interview with the children's weekly magazine "Davar Liyeladim" in 1981, Grobman had this to say about his work: “Nothing I do pertains to the realm of psychology, nor to any emotional aspect of life. Nor am I endeavoring to imitate Nature […] One must never attempt to transfer any of these beautiful living things around us onto a piece of paper and turn them into something of a forgery of life. The purpose of the painting is entirely different […] Painting and art must serve to build the conditions for an altogether new world! Just as God, once upon a time, created the world as a work of art which is presently alive with us living in it, so must the artist seek the opportunity to create a totally new condition, which, in the case of a picture, is something we absorb through the eye."
Стихи [Poems], Self-made and self-published booklet ("for collectors") by Michail Grobman (b. 1939). Tel-Aviv, 2013. Russian.
Collection of poems by Michail Grobman, most of them from the 1970s. The booklet was made by Grobman himself. The paper cover was taken from the catalog of the "Leviathan" exhibition at Beit Uri and Rami Nehoshtan.
On the insides of the cover and on the title page, pen illustrations by Grobman. Some of the leaves are hand-signed by him.
26 pp. 22 cm (cover is larger – 25 cm). Good condition. Stains and minor blemishes.
Michail Grobman (b. 1939), Russian-Israeli painter and poet, native of Moscow. Among the founders of the Second Russian Avant-Garde – a title he himself coined – in the Soviet Union in the 1960s. Immigrated to Israel in 1971. Established the Leviathan Group in 1975 in collaboration with Avraham Ofek and Samuel Ackerman. The style of the group represented a blend of contemporary art, Jewish themes, symbolism, and metaphysics. In the manifesto entitled "The Leviathan Declaration, " publicized in 1976, Grobman set forth the group's goals: "Our joint appearance is an incipient attempt to create an inclusive national style that befits the spirit of the building of the New Israel […], our political basis [is] Zionism. Our spiritual basis – Jewish mysticism. Three foundations define our artistic stance: 1. Primitivism 2. Symbol 3. Letter."
In an interview with the children's weekly magazine "Davar Liyeladim" in 1981, Grobman had this to say about his work: “Nothing I do pertains to the realm of psychology, nor to any emotional aspect of life. Nor am I endeavoring to imitate Nature […] One must never attempt to transfer any of these beautiful living things around us onto a piece of paper and turn them into something of a forgery of life. The purpose of the painting is entirely different […] Painting and art must serve to build the conditions for an altogether new world! Just as God, once upon a time, created the world as a work of art which is presently alive with us living in it, so must the artist seek the opportunity to create a totally new condition, which, in the case of a picture, is something we absorb through the eye."
Левиафан [Leviathan], Journal for poetry and art edited and published by Michail Grobman (b. 1939). Issues 1-3 (no other issues were published). Jerusalem, 1975-1981. Russian (reproduced from handwriting).
The journal contains poems by Genrikh Sapgir, Igor Kholin, Vsevolod Nekrasov, Eduard Limonov, Vladimir Yakovlev, Saveli Grinberg, Michail Grobman and others; passages from Grobman's diaries; manifest of the Leviathan group; an article in memory of the artist Aryeh Baruch; photographs of art works, and more.
All the issues were originally handwritten by Grobman.
Issue no. 1 (1975): 49.5X69.5 cm sheet, folded. Issue no. 2 (1979): 2-17 pp. 34 cm. Issue no. 3 (1981): 18-33 cm. 34 cm. Good condition.
Michail Grobman (b. 1939), Russian-Israeli painter and poet, native of Moscow. Among the founders of the Second Russian Avant-Garde – a title he himself coined – in the Soviet Union in the 1960s. Immigrated to Israel in 1971. Established the Leviathan Group in 1975 in collaboration with Avraham Ofek and Samuel Ackerman. The style of the group represented a blend of contemporary art, Jewish themes, symbolism, and metaphysics. In the manifesto entitled "The Leviathan Declaration, " publicized in 1976, Grobman set forth the group's goals: "Our joint appearance is an incipient attempt to create an inclusive national style that befits the spirit of the building of the New Israel […], our political basis [is] Zionism. Our spiritual basis – Jewish mysticism. Three foundations define our artistic stance: 1. Primitivism 2. Symbol 3. Letter."
In an interview with the children's weekly magazine "Davar Liyeladim" in 1981, Grobman had this to say about his work: “Nothing I do pertains to the realm of psychology, nor to any emotional aspect of life. Nor am I endeavoring to imitate Nature […] One must never attempt to transfer any of these beautiful living things around us onto a piece of paper and turn them into something of a forgery of life. The purpose of the painting is entirely different […] Painting and art must serve to build the conditions for an altogether new world! Just as God, once upon a time, created the world as a work of art which is presently alive with us living in it, so must the artist seek the opportunity to create a totally new condition, which, in the case of a picture, is something we absorb through the eye."
1. Art as Identity as Art, Padiglione Israeliano Biennale di Venezia 1988. Poster depicting the sculptures "Peace Rider" (by Motti Mizrachi) and Man-Animal (by Zadok Ben David).
On the upper part of the poster, on the picture of the sculpture "Peace Rider", Motti Mizrachi added a drawing (in pen; signed in Hebrew: "Motti Mizrachi, Venice 88"). The poster is inscribed by Zadok Ben David (handwritten dedication on the lower left corner).
100X68 cm. Good condition. Fold lines. Minor blemishes.
2. The Biennale of Venice, 1988, the Israeli pavilion, Motti Mizrachi, Zadok Ben David. [Israel, 1988]. Hebrew and English.
[68] pp. 31.5 cm. Good condition.
Mixed media on thin cardboard. Signed and dated.
200X70 cm. Good condition. Several tears and minor blemishes.
Provenance: The Uzi Agassi Collection.
Free translation of the Book of Ruth by poet Linda Zisquit, accompanied by 18 color woodcuts by artist Maty Grünberg (b. 1943). Large, elegant portfolio, placed in a matching box. An edition of 125 numbered copies signed by the artist in the colophon; this is copy no. 104. The 18 woodcuts are all signed by the artist as well.
51 cm. Good condition. Minor stains to edges of some leaves. Minor blemishes to box.
For designs (in different colors and slight variations in pattern; two of them identical). Gouache on graph paper. Stamped: "All rights reserved to the designer of this sample Yaakov Kantrowitz" (Hebrew).
Yaakov Kantrowitz (1891-1961) was born in Kletsk, Russia (today, Belarus). He obtained his artistic training at the art school of Odessa. Immigrated to Palestine in 1905 and in 1906 joined Bezalel as one of its first students and employees. After a while, he was appointed the manager of the carpet department of Bezalel. In 1911, he travelled to Istanbul to learn the art of making carpets. After the carpet department diverged from Bezalel, being called "Marbadiah" (and later "The New Marbadiah"), he continued to work within its framework.
After the closing of Bezalel and its workshops, he established the carpet-weaving departments at the WIZO and Ort schools.
Approx. 56X42.5 to 62.5X42.5 cm. attached to thick cardboard plates, approx. 50X70 cm. Fair condition. Blemishes, tears and open tears, mainly to edges of leaves. Stains. The cardboard plates are in poor condition.
Ink on tracing paper. Stamped with the stamp "Ze'ev Raban, Workshop for Industrial Art (previously Gur-Asyeh and Raban", Bezalel Jerusalem" (Hebrew).
14X35.5 cm. Good condition. Thin, dark paper. Creases. Tears to edges, including open tears, not affecting the sketch.
Ink and watercolor on paper. Stamped "Ze'ev Raban, Workshop for Industrial Art (previously Gur-Aryeh and Raban), Bezalel Jerusalem" (Hebrew).
Approx. 40X41 cm. Fair condition. Mounted to thick paper. Stains. Tears (some repaired). Open tears to edges. Creases.
Pencil, ink and watercolor on paper. Both sketches are stamped "Ze'ev Raban, Workshop for Industrial Art (previously Gur-Aryeh and Raban), Bezalel Jerusalem" (Hebrew).
14X21 cm.; 21X17 cm. Good condition. Tears (slightly affecting one sketch), repaired with pieces of paper mounted on verso. Some stains. Abrasions to one sheet, minimally affecting sketch.
Pencil and watercolor on paper. Stamped with the stamp "Ze'ev Raban, Workshop for Industrial Art" (Hebrew).
Captioned in pencil "Drawn for WIZO".
12.5X37 cm. Good condition. Pinholes. Stains and minor creases.
Seen on the lower part of the sketch is the skyline of Jerusalem with the national institutions and at its right, a female farmer and a builder standing on both sides of a lion crouching on a pedestal. Behind them, two palm trees.
Pencil and ink on paper. Stamped: "Ze'ev Raban, Workshop for Industrial Art (previously Gur-Asyeh and Raban", Bezalel Jerusalem" (Hebrew).
24X43 cm. Fair-good condition. Thin, dark paper. Tears, including open tears. A tear along the sketch, reinforced with tape on verso.
Enclosed: an authenticity confirmation.