Tsibi Geva (b. 1951), Umm al-Fahm, 1984. Diptych. Mixed media on thin cardboard. Signed and dated. 200X70 cm. Good condition. Small holes and minor blemishes. Provenance: The Uzi Agassi Collection. Yona Fischer : Do the names of places you choose always have political connotations for you, or do they sometimes have poetic connotations? Tsibi Geva : I think about it in terms of a political haiku. The musicality, the reverberations, too, are content in the world. The names generate a frequency that has an origin and a resonance, or impact. They are linguistic, musical, conceptual and political elements that accumulates – first in me, and then in the works. I like this sort of concatenated thought, the idea that to a great extent the deeper meanings of what you're doing can only be revealed through an observation of the entire project, not by single pieces. A project is also a projection. A single piece is like a single word in a sentence or story. There's a fundamental difference between a painting of a terrazzo tile and tiling, if you will, or occupying a territory, territorialization. Already at a very early stage in my career, in the series of works that includes Umm el-Fahem and Biladi Biladi (1983-85) I thought that such works, in which the inscribed words are a key image, may work on their own, but when you stand in a space that's completely surrounded by names of Arab places written in Hebrew, it becomes a whole sphere and generates a reference field that is charged with meaning. As a viewer, you find yourself "confined" in a suggestive electricity field. Pointing at invisible villages is an act of indicating and focusing, bringing them to the foreground and defining an alternative territory to that of the Zionist narrative, to this story we were raised on. This act also defines itself along the time axis. Things have added up, have been built one on top of the other, very slowly. Tsibi Geva in Conversation with Yona Fischer. From: Tsibi Geva: Transition, Object, exhibition catalog, Ashdod Museum of Art (curated by Yona Fischer and Roni Cohen-Binyamini), July-November 2012. pp xiii-xiv.

Ran Hadari (b. 1962), Portrait. Paris, 1987. Gouache on paper. Signed and dated. Approx. 24X16 cm. Provenance: The Uzi Agassi Collection.

Pamela Levy (1949-2004), Girl Eating a Peach, 1997. Woodcut. Signed, dated and numbered 1/4. 57X50 cm. Pamela Levy (1949-2004) was born in Fairfield, Iowa. She studied at the University of Northern Iowa, and later joined an artists commune in Santa Fe, New Mexico. In 1976 she immigrated to Israel. Her early works were textile collages inspired by the feminist Pattern and Decoration art movement. In the 1980s she started to experiment with other techniques, painting figurative scenes in oil, based on photographs (some of which she herself took), and creating woodcuts and silkscreens, always retaining a collage-like, patchwork quality. Levy's works deal with feminist and political issues, "her oil paintings are made as collages featuring naked and clothed figures in deserted urban spaces, building sites or on the beach. They are psychologically charged, saturated with tension and contrasts between fear and delight, childhood and old age, complete and ripped, violent and merciful" (exhibition statement – retrospective of Levy's work at the Tel Aviv Museum of Art, 2018). Provenance: The Uzi Agassi Collection.

Pamela Levy (1949-2004), Girl Brushing Her Hair. Woodcut. Signed, numbered 3/10. 58X53 cm. Pamela Levy (1949-2004) was born in Fairfield, Iowa. She studied at the University of Northern Iowa, and later joined an artists commune in Santa Fe, New Mexico. In 1976 she immigrated to Israel. Her early works were textile collages inspired by the feminist Pattern and Decoration art movement. In the 1980s she started to experiment with other techniques, painting figurative scenes in oil, based on photographs (some of which she herself took), and creating woodcuts and silkscreens, always retaining a collage-like, patchwork quality. Levy's works deal with feminist and political issues, "her oil paintings are made as collages featuring naked and clothed figures in deserted urban spaces, building sites or on the beach. They are psychologically charged, saturated with tension and contrasts between fear and delight, childhood and old age, complete and ripped, violent and merciful" (exhibition statement – retrospective of Levy's work at the Tel Aviv Museum of Art, 2018). Provenance: The Uzi Agassi Collection.

Michail Grobman (b. 1939), portfolio containing a dozen prints. Signed in the plate; some works dated 1967/1968 in the plate; signed and numbered in pencil, XIV/XV. Housed in cloth-covered case. 65X50 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." Provenance: The Rami Cohen Collection.