Moshe Kupferman

Moshe Kupferman 1926 - 2003 Untitled, 1973, Oil on canvas, 100X116 cm, Signed and dated. Signed and dated on the reverse. Provenance: Gaby and Ami Brown collection. Literature & Exhibition: A Selection of Israeli Art from the Collection of Gaby and Ami Brown, Museum of Art, Ein Harod, October 2009 - April 2010, p. 163 (Illustrated).

LOT 82 PROPERTY FROM THE KUPFERMAN COLLECTION, KIBBUTZ LOHAMEI HAGETAOT MOSHE KUPFERMAN B.1926 COMPLEMENTARY FACTORS signed in Hebrew (upper left); signed again in Hebrew and dated 1965 (on the reverse)and stamped with the Estate stamp (on the stretcher) oil on canvas 51 1/2 by 76 1/2 in. 131 by 194.5 cm. Painted in 1965.

Moshe Kupferman 1926-2003 The Rift in Time, no. 8, 1999 Oil on canvas, 200X200 cm Signed and dated Provenance: Gaby and Ami Brown collection Literature & Exhibition: A Selection of Israeli Art from the Collection of Gaby and Ami Brown, Museum of Art, Ein Harod, October 2009 - April 2010, p. 23 (Illustrated). Moshe Kupferman, The Rift in Time, March 2002, p. 23 (Illustrated).

Moshe Kupferman (Polish/Israeli, 1926-2003) Composition signed and dated in Hebrew and English 'Kupferman 86' (lower right); further signed and dated in Hebrew and English 'Kupferman 86' (verso) oil on canvas 100 x 81cm (39 3/8 x 31 7/8in). Footnote: Yona Fischer writes: "The appearance of these 'basic forms' amounts to a dual tactical retreat: a reversion, appearing for the first time in his art, to a 'concrete' form and, particularly, a retreat signifying a preoccupation with painting as a primal act: the 'script' of the image, the fusion of representation and gesture." Kupferman's 'basic forms' can be divided into two categories: the first comprises the geometrical motifs – the rectangular and triangular, which define the picture surface, and the Y-shape, which divides it, and the second the two linear patterns – the parallel lines and the warp-and-weft mesh, functioning as space fillers. All these forms evidence the primary instinct of marking the given surface and taking hold of it, and they appear, as a system, in the early stage of any conceivable culture. One example of its methodical application is the decoration of pre-Geometric Attic vessels, in the form of recurring design of triangles filled with parallel lines or grid-patterns, another is the division of the band around Mycenaean and Philistine vessels into rectangular frames and the filling of the interstice between the main motif and their margins by parallel lines. BIBLIOGRAPHY: Moshe Kupferman, Paintings, Works on Paper, 1963-1984 exhibition catalogue, The Israel Museum, Jerusalem & The Tel Aviv Museum, 1984-85

Moshe Kupferman 1926 - 2003 Untitled, 1971, Oil on canvas, 100X115 cm. Signed and dated. Provenance: Gaby and Ami Brown collection. Literature & Exhibition: A Selection of Israeli Art from the Collection of Gaby and Ami Brown, Museum of Art, Ein Harod, October 2009 - January 2010, p. 164 (Illustrated).