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In the mid-1970s, Sarah Safford, a dancer from New York was driving in Mahopac in Upstate New York when she came upon an abandoned truck in the middle of a field.  In the truck was a trove of eccentric clothes that Safford recognized as stage costumes.  Safford’s theater-knowledgeable mother identified the clothes’ importance and recognized them as belonging to Molly Picon, the Yiddish theater star.  Safford and her mother contacted Picon who said that, as a result of her grief over the death of her husband, had left many mementos and souvenirs in the house that she had shared with him in Mahopac.  Picon also encouraged Safford to keep the clothes and use them for shows.  Safford did later use the clothes in a show inspired by her find called Molly Picon is Alive and Well and Living in Brooklyn.  

In the mid-1970s, Sarah Safford, a dancer from New York was driving in Mahopac in Upstate New York when she came upon an abandoned truck in the middle of a field.  In the truck was a trove of eccentric clothes that Safford recognized as stage costumes.  Safford’s theater-knowledgeable mother identified the clothes’ importance and recognized them as belonging to Molly Picon, the Yiddish theater star.  Safford and her mother contacted Picon who said that, as a result of her grief over the death of her husband, had left many mementos and souvenirs in the house that she had shared with him in Mahopac.  Picon also encouraged Safford to keep the clothes and use them for shows.  Safford did later use the clothes in a show inspired by her find called Molly Picon is Alive and Well and Living in Brooklyn.  

There is something both comically and tragically familiar in Rotem’s sculpture.  One sees the desperate  scrambling of the depicted figure, and the weight of his load as both a parody and praise of humanity, whose goals are so often larger than themselves.  Rotem’s sculpture captures the farcical comedy of man’s efforts against all odds, while also reflecting the difficulty of perseverance and defeat.

His Yearning by Varda Rotem, 1992.  Collection of Yeshiva University Museum.  Gift of the artist

There is something both comically and tragically familiar in Rotem’s sculpture.  One sees the desperate  scrambling of the depicted figure, and the weight of his load as both a parody and praise of humanity, whose goals are so often larger than themselves.  Rotem’s sculpture captures the farcical comedy of man’s efforts against all odds, while also reflecting the difficulty of perseverance and defeat.

His Yearning by Varda Rotem, 1992.  Collection of Yeshiva University Museum.  Gift of the artist

Congratulations recent graduates of 2014!

This portrait of Augusta Victoria Klein was taken in honor of her graduation, ca. 1925. The photograph, from the Collection of Yeshiva University Museum, was a gift of Sylvia Axelrod Herskowitz. 

Congratulations recent graduates of 2014!

This portrait of Augusta Victoria Klein was taken in honor of her graduation, ca. 1925. The photograph, from the Collection of Yeshiva University Museum, was a gift of Sylvia Axelrod Herskowitz. 

Andi Arnovitz created this artwork in our collection in 2009 as a reflection of the unease resulting from today’s political and social conflicts.  It mirrors the tumultuous everyday strife in Israel, where Arnovitz lives and works, and the political and social upheaval which dominate and spur global conflict.  It also draws on the pull that a mother feels to protect her child from these conflicts, thus, Vest for a Child of These Times draws its inspiration from an Afghan child’s ceremonial garment.  The vest is embellished with various prayers and kabalistic (Jewish mystical) charms that offer a way of dealing with hardship, other than violence, that echo Arnovitz’s desire to plan and focus on beneficial, rather than, damaging solutions to conflicts.        
  

Andi Arnovitz created this artwork in our collection in 2009 as a reflection of the unease resulting from today’s political and social conflicts.  It mirrors the tumultuous everyday strife in Israel, where Arnovitz lives and works, and the political and social upheaval which dominate and spur global conflict.  It also draws on the pull that a mother feels to protect her child from these conflicts, thus, Vest for a Child of These Times draws its inspiration from an Afghan child’s ceremonial garment.  The vest is embellished with various prayers and kabalistic (Jewish mystical) charms that offer a way of dealing with hardship, other than violence, that echo Arnovitz’s desire to plan and focus on beneficial, rather than, damaging solutions to conflicts.        

  

Ina Golub donated her archive to Yeshiva University Museum and it is now searchable on line! This collection includes maquettes, presentations, documents, photographs, and the banner from her 1996 retrospective exhibition at the Museum.

This 2002 photograph by Jaime Permuth depicts a young man in the first Romanian-American synagogue, Congregation Shaarey Shomayim, or the Roumanische Shul, which opened on the Lower East Side in New York City in 1885.  It was nicknamed the “Cantor’s Carnegie Hall” because of its fantastic acoustics and seating for 1,800.  The synagogue, which since 1902 has been located on 89 Rivington Street was torn down in 2006 after water damage cause the roof to collapse.  

This 2002 photograph by Jaime Permuth depicts a young man in the first Romanian-American synagogue, Congregation Shaarey Shomayim, or the Roumanische Shul, which opened on the Lower East Side in New York City in 1885.  It was nicknamed the “Cantor’s Carnegie Hall” because of its fantastic acoustics and seating for 1,800.  The synagogue, which since 1902 has been located on 89 Rivington Street was torn down in 2006 after water damage cause the roof to collapse.  

In the city this summer? These watercolor paintings by Albert Dov Sigal are from an archive of many similar, whimsical depictions of different cities, among them Paris, Rome, and Vienna.  Sigal captures some of the essential characteristics of NYC, namely endless construction and corner pizza stores.  

Laurence Goodstein and friends from Camp Oneida don’t look very cheerful in this ca. 1915 photograph, do they?  
Photograph from the Collection of Yeshiva University Museum, Gift of Mr. and Mrs. Larry Lerner

Laurence Goodstein and friends from Camp Oneida don’t look very cheerful in this ca. 1915 photograph, do they?  

Photograph from the Collection of Yeshiva University Museum, Gift of Mr. and Mrs. Larry Lerner

Zak Vreeland, Archivist at the Renee and Chaim Gross Foundation in New York City, recentle identified this bust in the collection of Yeshiva University Museum as Max Grant, leader of the Jewish community in Providence, Rhode Island.Portrait bust of Max GrantArtist:  Chaim Gross (1901-1991)BronzeNew York, 1970Collection of Yeshiva University MuseumGift from the Collection of Gloria and Henry I. Zeisel, Monsey, New York

Zak Vreeland, Archivist at the Renee and Chaim Gross Foundation in New York City, recentle identified this bust in the collection of Yeshiva University Museum as Max Grant, leader of the Jewish community in Providence, Rhode Island.

Portrait bust of Max Grant
Artist:  Chaim Gross (1901-1991)
Bronze
New York, 1970
Collection of Yeshiva University Museum
Gift from the Collection of Gloria and Henry I. Zeisel, Monsey, New York

Professor Steven Fine and his class examine a print by David Roberts showing the Roman destruction of Jerusalem from the collection of Yeshiva University Museum

In the mid-1970s, Sarah Safford, a dancer from New York was driving in Mahopac in Upstate New York when she came upon an abandoned truck in the middle of a field.  In the truck was a trove of eccentric clothes that Safford recognized as stage costumes.  Safford’s theater-knowledgeable mother identified the clothes’ importance and recognized them as belonging to Molly Picon, the Yiddish theater star.  Safford and her mother contacted Picon who said that, as a result of her grief over the death of her husband, had left many mementos and souvenirs in the house that she had shared with him in Mahopac.  Picon also encouraged Safford to keep the clothes and use them for shows.  Safford did later use the clothes in a show inspired by her find called Molly Picon is Alive and Well and Living in Brooklyn.  

In the mid-1970s, Sarah Safford, a dancer from New York was driving in Mahopac in Upstate New York when she came upon an abandoned truck in the middle of a field.  In the truck was a trove of eccentric clothes that Safford recognized as stage costumes.  Safford’s theater-knowledgeable mother identified the clothes’ importance and recognized them as belonging to Molly Picon, the Yiddish theater star.  Safford and her mother contacted Picon who said that, as a result of her grief over the death of her husband, had left many mementos and souvenirs in the house that she had shared with him in Mahopac.  Picon also encouraged Safford to keep the clothes and use them for shows.  Safford did later use the clothes in a show inspired by her find called Molly Picon is Alive and Well and Living in Brooklyn.  

There is something both comically and tragically familiar in Rotem’s sculpture.  One sees the desperate  scrambling of the depicted figure, and the weight of his load as both a parody and praise of humanity, whose goals are so often larger than themselves.  Rotem’s sculpture captures the farcical comedy of man’s efforts against all odds, while also reflecting the difficulty of perseverance and defeat.

His Yearning by Varda Rotem, 1992.  Collection of Yeshiva University Museum.  Gift of the artist

There is something both comically and tragically familiar in Rotem’s sculpture.  One sees the desperate  scrambling of the depicted figure, and the weight of his load as both a parody and praise of humanity, whose goals are so often larger than themselves.  Rotem’s sculpture captures the farcical comedy of man’s efforts against all odds, while also reflecting the difficulty of perseverance and defeat.

His Yearning by Varda Rotem, 1992.  Collection of Yeshiva University Museum.  Gift of the artist

Congratulations recent graduates of 2014!

This portrait of Augusta Victoria Klein was taken in honor of her graduation, ca. 1925. The photograph, from the Collection of Yeshiva University Museum, was a gift of Sylvia Axelrod Herskowitz. 

Congratulations recent graduates of 2014!

This portrait of Augusta Victoria Klein was taken in honor of her graduation, ca. 1925. The photograph, from the Collection of Yeshiva University Museum, was a gift of Sylvia Axelrod Herskowitz. 

Andi Arnovitz created this artwork in our collection in 2009 as a reflection of the unease resulting from today’s political and social conflicts.  It mirrors the tumultuous everyday strife in Israel, where Arnovitz lives and works, and the political and social upheaval which dominate and spur global conflict.  It also draws on the pull that a mother feels to protect her child from these conflicts, thus, Vest for a Child of These Times draws its inspiration from an Afghan child’s ceremonial garment.  The vest is embellished with various prayers and kabalistic (Jewish mystical) charms that offer a way of dealing with hardship, other than violence, that echo Arnovitz’s desire to plan and focus on beneficial, rather than, damaging solutions to conflicts.        
  

Andi Arnovitz created this artwork in our collection in 2009 as a reflection of the unease resulting from today’s political and social conflicts.  It mirrors the tumultuous everyday strife in Israel, where Arnovitz lives and works, and the political and social upheaval which dominate and spur global conflict.  It also draws on the pull that a mother feels to protect her child from these conflicts, thus, Vest for a Child of These Times draws its inspiration from an Afghan child’s ceremonial garment.  The vest is embellished with various prayers and kabalistic (Jewish mystical) charms that offer a way of dealing with hardship, other than violence, that echo Arnovitz’s desire to plan and focus on beneficial, rather than, damaging solutions to conflicts.        

  

Ina Golub donated her archive to Yeshiva University Museum and it is now searchable on line! This collection includes maquettes, presentations, documents, photographs, and the banner from her 1996 retrospective exhibition at the Museum.

This 2002 photograph by Jaime Permuth depicts a young man in the first Romanian-American synagogue, Congregation Shaarey Shomayim, or the Roumanische Shul, which opened on the Lower East Side in New York City in 1885.  It was nicknamed the “Cantor’s Carnegie Hall” because of its fantastic acoustics and seating for 1,800.  The synagogue, which since 1902 has been located on 89 Rivington Street was torn down in 2006 after water damage cause the roof to collapse.  

This 2002 photograph by Jaime Permuth depicts a young man in the first Romanian-American synagogue, Congregation Shaarey Shomayim, or the Roumanische Shul, which opened on the Lower East Side in New York City in 1885.  It was nicknamed the “Cantor’s Carnegie Hall” because of its fantastic acoustics and seating for 1,800.  The synagogue, which since 1902 has been located on 89 Rivington Street was torn down in 2006 after water damage cause the roof to collapse.  

In the city this summer? These watercolor paintings by Albert Dov Sigal are from an archive of many similar, whimsical depictions of different cities, among them Paris, Rome, and Vienna.  Sigal captures some of the essential characteristics of NYC, namely endless construction and corner pizza stores.  

Laurence Goodstein and friends from Camp Oneida don’t look very cheerful in this ca. 1915 photograph, do they?  
Photograph from the Collection of Yeshiva University Museum, Gift of Mr. and Mrs. Larry Lerner

Laurence Goodstein and friends from Camp Oneida don’t look very cheerful in this ca. 1915 photograph, do they?  

Photograph from the Collection of Yeshiva University Museum, Gift of Mr. and Mrs. Larry Lerner

Zak Vreeland, Archivist at the Renee and Chaim Gross Foundation in New York City, recentle identified this bust in the collection of Yeshiva University Museum as Max Grant, leader of the Jewish community in Providence, Rhode Island.Portrait bust of Max GrantArtist:  Chaim Gross (1901-1991)BronzeNew York, 1970Collection of Yeshiva University MuseumGift from the Collection of Gloria and Henry I. Zeisel, Monsey, New York

Zak Vreeland, Archivist at the Renee and Chaim Gross Foundation in New York City, recentle identified this bust in the collection of Yeshiva University Museum as Max Grant, leader of the Jewish community in Providence, Rhode Island.

Portrait bust of Max Grant
Artist:  Chaim Gross (1901-1991)
Bronze
New York, 1970
Collection of Yeshiva University Museum
Gift from the Collection of Gloria and Henry I. Zeisel, Monsey, New York

Professor Steven Fine and his class examine a print by David Roberts showing the Roman destruction of Jerusalem from the collection of Yeshiva University Museum

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