Arieh Allweil’s Haggadahs: Part 1
– Introduction When I began working with Ruth Sperling and Nava Rosenfeld,...
Bed Exchange
Introduction Antique beds are not so imposing when disassembled, not even high-post...
Finlay Chairs? A question of attribution
Introduction Ever since purchasing six Baltimore fancy chairs (above) in 1993 from...
Making a COVID BOWL with Eric Avery: Part I
All images of artwork by Eric Avery are used with the permission...
Irwin Hoffman: Etcher of Workers
Introduction When I first bought prints by Irwin Hoffman, he was still...
Arieh Allweil’s Lamentation
INTRODUCTION Lamentation is the fourth and last book that Arieh Allweil (1901-1967)...
Arieh Allweil: Scroll of Esther
Introduction If only I had a better sense of timing! If I...
Arieh Allweil: Scroll of Ruth
Introduction Last summer when I first began my communication with Ruth Sperling...
American Jewish Artists: Pre-1947
Introduction After devoting a blog post on Die Bibel by Bruno Goldschmitt,...
Bruno Goldschmitt’s “Die Bibel”
Introduction For a blogger who has devoted considerable effort to present Jewish...
Arieh Allweil: Touring the Land
introduction This ART I SEE blog post, the sixth on the artist...
Second-chance Commode
Introduction It doesn’t make any sense that, after I purchased the above...
Ariel Allweil: Anonymous Jew
INTRODUCTION This ART I SEE post, the fifth on the publications of...
Brangwyn & Eby on WWI
Introduction Ever since I acquired a copy of Herbert Furst’s book The...
Arieh Allweil: Tumultuous Suite of lithographs
Introduction Twenty-three-year-old artist Arieh Allweil created a remarkable and in someways terrifying...