Artworks

Anni Albers
Fritz Ascher
Friedel Dzubas
Eva Hesse
Rudi Lesser
Lily Renee
Arthur Szyk

Anni Albers

Anni Albers' Preliminary Design for Wall Hanging of 1926. Gouache and pencil on paper. Dense network of red, black, orange, blue, perpendicular weaves.
Preliminary Design for Wall Hanging, 1926
Gouache and pencil on paper; 10 x 8 in. (25.4 x 20.3 cm) Museum of Modern Art, New York 398.1951. Gift of the designer
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY © 2021 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Anni Albers' Design for Jute Rug of 1927. Watercolor and india ink on paper. Intertwining of red, orange, green, yellow, black lines.
Design for Jute Rug, 1927
Watercolor and india ink on paper; 13 ⅝ x 10 ⅜ in. (136.4 x 26.3 cm). Museum of Modern Art, New York 403.195. Gift of the designer
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY © 2021 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Anni Albers' Monte Alban of 1936. Silk, linen, wool. Mountainous landscape delicately suggested by gray and black textures.
Monte Alban, 1936
Silk, linen, wool, 57 ½ x 44 ⅛ in. (146 x 112 cm). Harvard Art Museums/Busch-Reisinger Museum BR81.5. Gift of Mr. and Mrs. Richard G. Leahy
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Anni Albers' La Luz I of 1947. Linen and metallic thread. Texture in shades of brown, ocher, gray with a cross? lighter in the center.
La Luz I, 1947
Linen and metallic thread, 18 ½ x 32 ½ in. (47 x 82.5 cm). The Josef and Anni Albers Foundation, Bethany 1994.12.2. Photo: Tim Nighswander/Imaging4Art
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Anni Albers and Alexander Reed's Necklace (ca. 1940). Aluminum strainer, paper clips, and chain. The pendant is circular in shape, evenly punctured, from which some paper clips hang.
Anni Albers and Alexander Reed, Necklace, c. 1940
Aluminum strainer, paper clips, and chain. Length: 20 in. (50.8 cm); strainer: 3 in. (7.6 cm) diam. The Josef and Anni Albers Foundation, Bethany 1994.14.16. Photo: Tim Nighswander/Imaging4Art
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Photo of Anni Albers' Free-Hanging Room Divider of 1949. Cellophane and cord,hanging at the Museum of Modern Art, New York (1960). Rectangular, vertical, in black, grey and beige color.
Free-Hanging Room Divider, 1949
Cellophane and cord, 94 x 32 ½ in. (238.7 x 82.5 cm). Museum of Modern Art, New York 409.1960. Gift of the designer
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY © 2021 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Black and white photo. Installation view of Anni Albers Textiles held at the Museum of Modern Art, September 14, 1949–November 6, 1949. Gelatin silver print. Photograph by Soichi Sunami.
Installation view of Anni Albers Textiles, September 14, 1949–November 6, 1949
Gelatin silver print, 7 ½ x 9 ½ in. (19 x 24.1 cm). Photographic Archive. The Museum of Modern Art Archives, New York IN421.3. Photograph by Soichi Sunami
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY
Anni Albers's Line Involvement V, 1964. Two-color stone lithograph in grey and white with intertwined lines.
Line Involvement V, 1964
Two-color stone lithograph 19 ¾ x 14 ½ in. (50.2 x 36.8 cm). The Josef and Anni Albers Foundation, Bethany 1994.11.5.e. Photo: Tim Nighswander/Imaging4Art
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Anni Albers' Fox I, 1972. Two rectangles on a white background formed by many small orange and gray triangles.
Fox I, 1972
Photo-offset, 24 x 20 in. (61 x 50.8 cm). The Josef and Anni Albers Foundation, Bethany 1994.11.23. Photo: Tim Nighswander/Imaging4Art
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Study for Temple Emanu-El Ark Panels, 1957
Foil and metallic thread on card, 17 x 14 ½ in. (43.2 x 36.8 cm). The Josef and Anni Albers Foundation, Bethany 1994.10.95. Photo: Tim Nighswander/Imaging4Art
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
Colored photo of the interior of the Temple Emanu-El, Dallas, Texas, showing ark covering designed by Anni Albers in 1957.
Interior of the Temple Emanu-El, Dallas, Texas, showing ark covering designed by Anni Albers, 1957
Anni Albers' Six Prayers of 1966-67. Cotton, linen, bast and silver thread. Six vertical panels, each featuring a different weaving, in ocher and earth tones.
Six Prayers, 1966-67
Cotton, linen, bast and silver thread, 73 ¼ x 117 in. (186.1 x 297.2 cm) The Jewish Museum, New York, Gift of the Albert A. List Family, JM 14972.16 Photo: The Jewish Museum/Art Resource, NY
© 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York
    Anni's Story
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    Fritz Ascher

    Fritz Ascher's painting Golgotha of 1915. Oil on canvas. Golgotha on the top center of the painting with Christ and the two thieves. A moltitude of vibrant colored people fill the painting.
    Golgotha, 1915
    Oil on canvas, 53.4 x 69 in. (35.5 x 175 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Golem of 1916. Oil on canvas. Four figures, probably of poor men, depicted with dark colors, outside in a cold night.
    Golem, 1916
    Oil on canvas, 71.9 x 55.3 in. (182.5 x 140.5 cm). Jewish Museum Berlin GEM 93 2 0
    © Bianca Stock
    Fritz Ascher's painting The Tortured of 1920s. Oil on canvas. A male blue figure in the center of the painting is tortured by other four colored figures that tighten laces around his body.
    The Tortured, 1920s
    Oil on canvas, 59 x 79.4 in. (149 x 200 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's graphite on paper drawing Men Fighting (c. 1918). A group of men fights in an excited scene, using clubs and other blunt objects.
    Men Fighting, c. 1918
    Graphite on paper, 12.8 x 20 in. (32,4 x 49.6 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Figural Scene (Inferno?) of 1915. White gouache and black ink over watercolour and graphite on paper. A group of men seems entangled in the red flames. Someone gets desperate and eats their hands.
    Figural Scene (Inferno?), 1915
    White gouache and black ink over watercolour and graphite on paper, 18.2 x 23 in. (46 x 58.5 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's graphite on paper drawing, Man Running (c. 1918). A dynamic image of a man, facing the looking towards the viewer, with a weary gaze. The features are snappy, dynamic.
    Man Running, c. 1918
    Graphite on paper, 9 x 11 in. (23.2 x 28.5 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Bajazzo of 1924/1945. Oil on canvas. The clown in red, standing on the left, is represented with quick and expressionist strokes.
    Bajazzo, 1924/1945
    Oil on canvas, 47.6 x 39 in. (121 x 99 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Male Portrait of 1920s/1945. Oil on canvas. Half-length male portrait, with expressionist features, in shades of blue but with various small colored brushstrokes.
    Male Portrait, 1920s/1945
    Oil on canvas, 23.4 x 20.1 in. (59.5 x 51 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Bajazzo of 1963. Black ink on paper. Portrait of clown looking, with desperate gaze, upwards to the right.
    Bajazzo, 1963
    Black ink on paper, 24 x 17 in. (61 x 43 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Blossoming Trees of 1950s. Oil on canvas. The painting shows three trees painted in dark but vivid colors and their fronds full of green leaves.
    Blossoming Trees, 1950s
    Oil on canvas, 39.4 x 37.4 in. (100 x 95 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Landscape of 1961. Black ink over watercolor on paper. Landscape with probably two trees and a pink sun in the top center of the drawing.
    Landscape, 1961
    Black ink over watercolor on paper, 14.75 x 17.75 in. (37.5 x 45.1 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Trees in Hilly Landscape of 1968. Oil on canvas. Landscape with trees to the right and left between which you can see a green lawn. The artist's signature and date is clearly visible in black on the lower central part of the painting.
    Trees in Hilly Landscape, 1968
    Oil on canvas, 27.6 x 31.5 in. (70 x 80 cm). Photo Malcolm Varon. Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Portrait of 1950. Black ink on paper. The face is rendered with tangled and decisive features. The artist's signature and date are visible in pencil on the lower left side of the drawing.
    Portrait, 1950
    Black ink on paper, 11.5 x 8.2 in. (29 x 20.5 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Portrait of 1950. Black ink on paper. The face is rendered with tangled and decisive features. The artist's signature and date are visible in pencil on the lower central part of the drawing.
    Portrait, 1950
    Black ink on paper, 11.5 x 8.2 in. (29 x 20.5 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Portrait of 1950. Black ink on paper. The face is rendered with tangled and decisive features. The artist's signature and date are visible in pencil on the lower part of the drawing.
    Portrait, 1950
    Black ink on paper, 11.5 x 8.2 in. (29 x 20.5 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's painting Two Sunflowers (c. 1959). White gouache and black ink over watercolor on paper. The sunflowers are represented with dark dynamic brushstrokes (in orange and purple). The painting is characterized by colors of dark shades.
    Two Sunflowers, c. 1959
    White gouache and black ink over watercolor on paper, 24.5 x 17.6 in. (62.5 x 44.8 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Sunflower (c. 1958). White gouache and black ink over watercolor on paper. The sunflower, in black and very dark tones, invades the surface of the painting, creating an expressionist texture, bordering on abstractionism.
    Sunflower, c. 1958
    White gouache and black ink over watercolor on paper, 13.6 x 13.6 in. (34.5 x 34.5 cm) Photo Malcolm Varon. Private collection
    © Bianca Stock
    Fritz Ascher's Sunflower (c. 1963). Watercolor on paper. The drawing is full of colors, the flower is represented with dynamic strokes in the center of the composition, with brushstrokes that also extend to the surrounding surface.
    Sunflower, c. 1963
    Watercolor on paper, 24 x 16.9 in. (61 x 43 cm). Photo Malcolm Varon. Private collection
    © Bianca Stock
      Fritz's Story
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      Friedel Dzubas

      Friedel Dzubas' painting, Early Grave, of 1957. Oil on canvas, vertical painting with large abstract colored sections in blue, pink, black, brown, orange and light blue.
      Early Grave, 1957
      Oil on canvas, 94 ⅞ x 47 in. (241 x 120 cm). Collection of the Middlebury College Museum of Art, Middlebury, Vermont
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Virgin, of 1962. Oil on canvas, horizontal painting with large abstract colored sections on the right bottom in light blue, green and orange on white background.
      Virgin, 1962
      Oil on canvas, 65 x 77 in. (165.1 x 197.4 cm). Private collection
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Patmos, of 1974-75. Acrylic on canvas, horizontal painting with large abstract colored sections in several shades of grey, blue and green.
      Patmos, 1974-75
      Magna (acrylic) on canvas, 3 ft. 5 in. x 17 ft. 4 in. (104.1 x 528.3 cm). Private collection
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Monk, of 1960. Oil on canvas, rectangular black painting with nested brushstrokes.
      Monk, 1960
      Oil on canvas, 93 x 72 in. (237.4 x 184.1 cm). Collection of the Estate of Friedel Dzubas Digital image from Loretta Howard Gallery, New York
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Betrayal, of 1960. Oil on canvas, rectangular painting with black nervous nested brushstrokes on bright background.
      Betrayal, 1960
      Oil on canvas, 95 x 71 in. (241.3 x 180.3 cm). Collection of the Estate of Friedel Dzubas
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Temptation, of 1960. Oil on canvas, rectangular black painting with nested brushstrokes.
      Temptation, 1960
      Oil on canvas, 93 x 72 in. (237.4 x 184.1 cm). Collection of the Estate of Friedel Dzubas. Digital Image courtesy of Loretta Howard Gallery, New York
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Blackbird, of 1960. Oil on canvas, round black painting with nested brushstrokes.
      Blackbird, 1960
      Oil on canvas, diameter: 57 in. (144.78 cm). Collection of the Estate of Friedel Dzubas. Image courtesy of Loretta Howard Gallery, New York
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Rex, of 1961. Oil on canvas, round black painting with nested brushstrokes.
      Rex, 1961
      Oil on canvas, diameter: 80 in. (203.2 cm). Digital photograph by Jason Mandella. Collection of the Estate of Friedel Dzubas
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' self-portrait of 1961. Oil on canvas. Abstract painting with dark black and grey brushstrokes.
      Self-Portrait, 1961
      Oil on canvas, 43 ¾ x 54 in. (111.12 x 137.1 cm) Collection of the Friedel Dzubas Estate, Inventory no. 055. Photograph by Jason Mandella
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzuba's painting Red Heart of 1980. Acrylic on canvas. Abstract painting with large colored sections in grey, black, green, light blue, yellow, orange and bordeaux.
      Red Heart, 1980
      Magna on canvas, 72 x 72 in. (182.8 x 182.8 cm). Private collection
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
      Friedel Dzubas' painting, Cleavage, of 1990. Acrylic on canvas, vertical painting with large abstract colored sections and a bright one in the center
      Cleavage, 1990
      Magna (acrylic) on canvas, 101 3⁄16 x 43 11⁄16 in. (257 x 110.9 cm). Private collection. Digital image provided by the Archives of American Art, Washington, D.C.
      © 2021 Estate of Friedel Dzubas / Artists Rights Society (ARS), New York
        Friedel's Story
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        Eva Hesse

        Eva Hesse's painting, oil on canvas, female figure in the center.
        No Title (Self-portrait), 1960
        Oil on canvas, 16 x 18 in. May be in a private collection; it was auctioned on 19 October 2004 by Bonhams in London
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's sculpture, Ringaround Arosie of 1965 with pencil, acetone, varnish, enamel paint, ink, and cloth covered electrical wire on papier-mâché and masonite. One small circle on the top and a bigger one below, white, with a red profile.
        Ringaround Arosie, 1965
        Pencil, acetone, varnish, enamel paint, ink, and cloth covered electrical wire on papier-mâché and masonite, 26 ⅜ x 16 ½ x 4 ½ in. (67 x 41.9 x 11.4 cm). Museum of Modern Art 240.2005. Fractional and promised gift of Kathy and Richard S. Fuld, Jr.
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's sculpture, No Title, of 1966. Grey metallic acrylic paint and rope embossed hemisphere on papier-mâché on square wood.
        No Title, 1966
        Acrylic paint, cord over papier-mache on wood, 7 ½ x7 ½ x 4 in. The LeWitt Collection, Chester CT
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's sculpture, Hang Up, of 1966 made of cloth painted with grey acrylic over a rectangular wood frame. A steel wire exits from the upper left side and enters the lower right side.
        Hang Up, 1966
        Acrylic on cloth over wood and steel, 72 x 84 x 78 in. The Art Institute of Chicago
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's latex sculpture, Schema, of 1967. Square, orange, made up of 12 rows of 12 rough raised hemispheres.
        Schema, 1967
        Latex, 42 x 42 in. (106.7 x 106.7 cm) each (144 individual pieces): 1 ⅜ x 2 ½ inches (3.5 x 6.4 cm). Philadelphia Museum of Art 1979-185-1. Gift of Helen Hesse Charash, 1979
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Eva Hesse's painting No Title (For Gioia) of 1969. Abstract painting, with red, orange, yellow and green rectangles in the center.
        No Title (For Gioia), 1969
        Private collection
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse’s sculpture, Expanded Expansion of 1969. The sculpture is made of fiberglass and latex expanded on cheesecloth. 3 units of 3, 5, and 7 poles each are assembled in line on the wall.
        Expanded Expansion, 1969
        Fiberglass and latex on cheesecloth, 3 units of 3, 5, and 7 poles each, 120 x 180-240 in. per unit. Guggenheim Museum
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's sculpture, No Title, of 1969-70 made of ropes, strings, wires and latex anchored to the ceiling.
        No Title, 1969-70
        Latex, rope, string, and wire, dimensions variable. Whitney Museum of American Art 88.17a-b. Whitney Museum of American Art, New York
        Digital Image © Whitney Museum of American Art/Licensed by SCALA/Art Resource, NY. © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
        Photo of Eva Hesse's sculpture, Contingent, of 1969 made of 8 panels of cheesecloth, latex and fiberglass hanging on the ceiling.
        Contingent, 1969
        Cheesecloth, latex, fiberglass, 8 units, each 9 ½ x 3-4 in. (overall 350 h x 630 w x 109 d cm each panel). The National Gallery of Australia, Canberra. Purchased 1973
        © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth
          Eva's Story
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          Rudi Lesser

          Rudi Lesser's Untitled (Ring Fight) of 1925/26. Drypoint etching. Two massive and muscular fighters face off in the ring as a referee watches to the left. On the right side at the bottom of the print you can see the audience behind the ring.
          Untitled (Ring Fight), 1925/26
          Drypoint etching, 7 x 7 ¾ in. (17.8 x 19.6 cm). Lindenau-Museum Altenburg
          © Volkmar Reichmann
          Rudi Lesser's Untitled (Nero Before Burning Rome) of 1923. Drypoint etching. A figure on the right, probably Nero, observes the city in flames with figures in the background who are probably saving themselves.
          Untitled (Nero Before Burning Rome), 1923
          Drypoint etching, 9.5 x 7 in. (23.5 x 17.4 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's Untitled (Crucifixion Scene) of 1922. Drypoint etching. In the scene we recognize Christ crucified on the right and a figure of a man on the left.
          Untitled (Crucifixion Scene), 1922
          Drypoint etching, 6 ¾ x 9 in. (16.7 x 22.7 cm). Oberoesterreichische Landesmuseen Linz
          © Volkmar Reichmann
          Lesser's Pogrom in the Middle Ages of 1930. Drypoint etching. Some people attack others with blunt objects.
          Pogrom in the Middle Ages, 1930
          Drypoint etching, 6 x 7 in. (15 x 17.4 cm). Leo Baeck Institute, NYC
          © Volkmar Reichmann
          Rudi Lesser's Untitled (Drunk Lying on the Street) of 1928. Drypoint etching. The scene depicts a drunk man, lying on the sidewalk with a bottle in his hand, amid the indifference of passers-by in the city in the background.
          Untitled (Drunk Lying on the Street), 1928
          Drypoint etching, 4 ½ x 7 in. (11.9 x 17.8 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's Berlin, Street in (Berlin-) Wedding of 1928. Etching. The scene depicts a city street with several passersby and houses in the background.
          Berlin, Street in (Berlin-) Wedding, 1928
          Etching, 24.7 x 29.3 cm. Photo Museumsquartier Osnabrück. Felix-Nussbaum-Haus im Museumsquartier Osnabrück
          Rudi Lesser's From Denmark (Worker in the Gravel Pit) of 1933. Drypoint etching. The scene depicts gravel pit worker with a horse on the right and a wooden house on the left.
          From Denmark (Worker in the Gravel Pit), 1933
          Drypoint etching, 9.4 x 11.8 in. (23.9 x 29.9 cm). Galerie Taube, Berlin
          © Volkmar Reichmann
          Rudi Lesser's Boats on Ven Island (Boote auf Ven) of 1936. Drypoint etching with aquatint. Port scene with a large boat in the foreground and some small figures on the lower part of the engraving.
          Boats on Ven Island (Boote auf Ven), 1936
          Drypoint etching with aquatint, 11 ⅞ x 15 ⅞ in. (29.5 x 39.9 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's etching with a view of the city of Brussels.
          Brussel, 1935
          Etching, 6.9 x 9.7 in. (17.6 x 24.7 cm). Photo Museumsquartier Osnabrück. Felix-Nussbaum-Haus im Museumsquartier Osnabrück
          Rudi Lesser's Untitled (Night Crossing), 1955. Woodcut. A boat with some men on it crosses what looks like a stream towards a city.
          Untitled (Night Crossing), 1955
          Woodcut, 20 ¾ x 9 ⅝ in. (52.3 x 24.1 cm). Private collection
          © Volkmar Reichmann
          Rudi Lesser's drypoint etching portrait of Grete (the artist’s daughter) of 1958.
          Grete (the artist’s daughter), 1958
          Drypoint etching, 15 ½ x 1 in. (39.5 x 20.3 cm). Private collection
          © Volkmar Reichmann
          Rudi Lesser's Lovers with Bird of 1946. Drypoint etching. The scene, rendered with dynamic and broken lines, probably represents two lovers in a kiss.
          Lovers with Bird, 1946
          Drypoint etching, 8 ⅜ x 7 in. (14.3 x 11.5 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's Self-Portrait of 1987. Drypoint etching.
          Self-Portrait, 1987
          Drypoint etching; 5 ¾ x 4 ½ in. (14.6 x 11.43 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's drypoint etching of grandmother Bianca Lesser of 1930.
          Grandmother Bianca Lesser, 1930
          Drypoint etching, 5.6 x 4.5 in. (14.3 x 11.5 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's Untitled (Dog in the Ruined Quarter) of 1956. Drypoint etching with aquatint depicting a dog in a ruined quarter.
          Untitled (Dog in the Ruined Quarter), 1956
          Drypoint etching with aquatint, 13 x 19 ½ in. (32.8 x 49.9 cm). Private collection Berlin
          © Volkmar Reichmann
          Rudi Lesser's Portinho of 1986. Drypoint etching depicting Portinho's landscape.
          Portinho, 1986
          Drypoint etching; 11 ½ x 19 ½ in. (29.7 x 49.6 cm). Private collection Berlin
          © Volkmar Reichmann
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            Lily Renée

            Childhood artwork not dated depicting a black human/animal figure with a red human face, carrying on his back a basket with three people inside. Colors: black, red and beige.
            Childhood artwork, n.d.
            Lily Renée collection
            © Lily Renée
            Lily Renée's Longing for an Island Life. India ink, gouache and pencil on paper, (January 1939). A couple on a small island in the ocean. A blond man fishes to the left and a woman leans gently on him to the right.
            Longing for an Island Life, January 1939
            India ink, gouache and pencil on paper. Lily Renée collection
            © Lily Renée
            Lily Renée's comics drawing of Tarzan and Jane (New York 1942) India ink and pencil on paper. Two scenes.
            Drawing of Tarzan and Jane, New York 1942
            India ink and pencil on paper. Lily Renée collection
            © Lily Renée
            Lily Renée's comics drawing for Jane Martin (Wings Comics 35, Fiction House, New York, 1943).
            Jane Martin, 1943
            Wings Comics 35, Fiction House, New York, 1943
            Lily Renée's comics drawing for Jane Martin (Wings Comics 35, Fiction House, New York, 1943).
            Jane Martin, 1943
            Wings Comics 34, Fiction House, New York, 1943, 41
            Lily Renée's comics drawing for Jane Martin (Wings Comics 48, Fiction House, New York, August 1944, p. 1).
            Jane Martin, 1944
            Wings Comics 48, Fiction House, New York, August 1944, 1
            Lily Renée's comics drawing for The Werewolf Hunter with innovative scene layout (Fiction House, New York) date not known.
            The Werewolf Hunter, 1947
            Rangers Comics 37, Fiction House, New York, October 1947
            Lily Renée's comics drawing for The Werewolf Hunter with innovative scene layout (Fiction House, New York) date not known.
            The Werewolf Hunter, 1948
            Rangers Comics 40, Fiction House, New York, April 1948
            Lily Renée's comics drawing for The Werewolf Hunter (Fiction House, New York) date not known.
            The Werewolf Hunter, 1947
            Rangers Comics 37, Fiction House, New York, October 1947
            Lily Renée's proof for Senorita Rio. India ink, ink, pencil, white heightening and colored crayon on paper (Fight Comics no. 44, Fiction House, New York, June 1946).
            Señorita Rio, 1946
            Proof, India ink, ink, pencil, white heightening and colored crayon on paper. Fight Comics no. 44, Fiction House, New York, June 1946, 5. Lily Renée collection
            © Lily Renée
            Lily Renée's comics drawing for Senorita Rio Cover (Fight Comics 47, Fiction House, New York, December 1946).
            Señorita Rio, 1946
            Cover, Fight Comics 47, Fiction House, New York, December 1946
            Lily Renée's comics drawing of Senorita Rio 6 (Fight Comics. Fiction House, New York).
            Señorita Rio, 1947
            Cover, Fight Comics 50, Fiction House, New York, June 1947
            Lily Renée's drawing for The Lost World (Planet Comics 33, Fiction House, New York, November 1944, p.1)
            The Lost World, 1944
            Planet Comics 33, Fiction House, New York, November 1944, 1
            Lily Renée's retrospective self-portrait in the Vienna apartment of the Wilheim family. Gouache, watercolor, India ink, and pencil on paper (New York 1953).
            Retrospective self-portrait in the Vienna apartment of the Wilheim family, 1953
            Gouache, watercolor, India ink, and pencil on paper, New York 1953. Nina Phillips private collection
            © Lily Renée
              Lily's Story
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              Arthur Szyk

              Szyk's caricature The Painter and the Clipper (Ottawa,1940). Graphite, colored pencil, ink on paper. Hitler represented as a painter, coloring Europe in black.
              The Painter and the Clipper, Ottawa, 1940
              Graphite, colored pencil, ink on paper 9.8 x 11.5 in. (24.8 x 29.2 cm). United States Holocaust Memorial Museum Collection Gift of Joseph and Alexandra Braciejowski
              Szyk's caricature Greeting the Luftwaffe (Ottawa,1949). Graphite, colored pencil, ink on paper. An aviator on the left, shakes hands with a skeleton on the right dressed as a Nazi officer, as a representation of the destiny he will meet.
              Greeting the Luftwaffe. Ottawa, 1949
              Graphite, colored pencil, ink on paper 6.7 x 12.4 in. (17 x 31.6 cm). United States Holocaust Memorial Museum Collection. Gift of Joseph and Alexandra Braciejowski
              Szyk's caricatural cover illustration of 1944 for his book Ink and Blood (New York: Heritage Press, 1946). Ink, paint, graphite, colored pencil on paper. Szyk, busy drawing caricatures of the Nazis on the table, while his creations take shape and become like animated figures around him.
              Cover illustration, 1944, for his book Ink and Blood (New York: Heritage Press, 1946)
              Ink, paint, graphite, colored pencil on paper, 10 x 7.5 in. (25.4 x 19.1 cm). United States Holocaust Memorial Museum Collection Gift of Joseph and Alexandra Braciejowski
              Szyk's Sein Kampf, a caricature of Charles Lindbergh (New York, 1941). Graphite, ink on paper.
              Sein Kampf, caricature of Charles Lindbergh, New York, 1941
              Graphite, ink on paper 11.9 x 8.5 in. (30.2 x 21.6 cm). United States Holocaust Memorial Museum Collection Gift of Joseph and Alexandra Braciejowski
              Szyk's Good Work, Lindchen, a caricature of Charles Lindbergh (New York, 1941). Ink, graphite on paper.
              Good Work, Lindchen, caricature of Charles Lindbergh, New York, 1941
              Ink, graphite on paper, dimensions. United States Holocaust Memorial Museum Collection. Gift of Joseph and Alexandra Braciejowski
              Szyk's caricature of Senator Gerald P. Nye (New York, 1941). Graphite, ink on paper.
              Caricature of Senator Gerald P. Nye, New York, 1941
              Graphite, ink on paper, 11.9 x 8.9 in. (30.2 x 22.5). United States Holocaust Memorial Museum Collection. Gift of Joseph and Alexandra Braciejowski
              Szyk's drawing Poland Greets Her Good Neighbors. Page removed from The New Order (New York: G. P. Putnam’s Sons, 1941). Ink on paper, printed.
              Poland Greets Her Good Neighbors, page removed from The New Order (New York: G. P. Putnam’s Sons, 1941)
              Ink on paper, printed, 9.8 x 7.5 in. (24.8 x 19 cm). United States Holocaust Memorial Museum Collection. Gift of Philip R. House
              Szyk's caricature A Madman’s Dream. Page removed from The New Order (New York: G. P. Putnam’s Sons, 1941). Ink on paper, printed. Hitler, seated on the throne with the world at his feet marked entirely by swastikas, dreams of having subdued all nations, represented by the heads of state under his rule.
              A Madman’s Dream, page removed from The New Order (New York: G. P. Putnam’s Sons, 1941)
              Ink on paper, printed, 7.5 x 9.9 in. (19 x 25 cm). United States Holocaust Memorial Museum Collection. Gift of Philip R. House
              Szyk's caricature Enemies of the Third Reich. Page removed from The New Order (New York: G. P. Putnam’s Sons, 1941). Ink on paper.Hitler is represented, angry on the right, with the "enemies" of the Reich on the left, a poor defenseleff Jewish family.
              Enemies of the Third Reich, page removed from The New Order (New York: G. P. Putnam’s Sons, 1941)
              Ink on paper, 9.8 x 7.5 in. (24.8 x 19.1 cm). United States Holocaust Memorial Museum Collection. Gift of Philip R. House
              Szyk's drawing Tears of Rage (fundraising print for the Emergency Committee to Save the Jewish People of Europe, 1944). Ink on paper. a soldier with a rifle in his hand towers over some desperate and dying Jewish people below him.
              Tears of Rage, fundraising print for the Emergency Committee to Save the Jewish People of Europe, 1944
              Ink on paper, 10 x 8 in. (25.4 x 20.3 cm). United States Holocaust Memorial Museum Collection. Gift of Richard Tesler
              Szyk's drawing Modern Moses (fundraising print for the Emergency Committee to Save the Jewish People of Europe, 1944). Ink on paper. Moses figure in the center dividing a soldier and a worker.
              Modern Moses, fundraising print for the Emergency Committee to Save the Jewish People of Europe, 1944
              Ink on paper, 10 x 8 in. (25.4 x 20.3 cm). United States Holocaust Memorial Museum Collection. Gift of Richard Tesler
              Poster stamps created for the Emergency Committee to Save the Jewish People of Europe; designed 1942, issued 1944-1945 with Szyk's caricatures.
              Poster stamps created for the Emergency Committee to Save the Jewish People of Europe; designed 1942, issued 1944-1945
              Together: 2 x 8.4 in. (5.1 x 21.3 cm). United States Holocaust Memorial Museum Collection
              Fundraising colored poster stamps illustrating President Roosevelt’s Four Freedoms for the Emergency Committee to Save the Jewish People of Europe, c. 1944. Ink on paper, adhesive.
              Fundraising poster stamps illustrating President Roosevelt’s Four Freedoms for the Emergency Committee to Save the Jewish People of Europe, c. 1944
              Ink on paper, adhesive. Together: 4.5 x 3 in. (11.4 x 7.6 cm). United States Holocaust Memorial Museum Collection
                Arthur's Story
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