Roman Halter - Life and Art through Stained Glass by Ben Uri Research Unit

Roman Halter 1927â&#x20AC;&#x201C;2012

ROMAN ROMAN HALTER: HALTER: LIFE LIFE AND AND ART THROUGH ART THROUGH STAINED STAINED GLASS GLASS

LIFE AND ART THROUGH STAINED GLASS

This catalogue is produced to coincide with the exhibition Life and Art through Stained Glass Roman Halter (1927–2012) at Ben Uri The London Jewish Museum of Art Art Identity Migration 10 April – 8 June 2014

108a Boundary Road off Abbey Road

Acknowledgements

London NW8 0RH

All rights reserved. Any copy of this book issued by the publisher as a paperback is sold subject to the condition that it shall not by way of trade or otherwise be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including these words being imposed on a subsequent purchaser.

www.benuri.org.uk Ben Uri Gallery and Museum Limited Registered Museum 973 Registered Charity 280389 Registered Company in England 1488690

Our thanks go to Lenders Leo Baeck College, The Sternberg Centre for Judaism, London Susan Halter Mr and Mrs Trevor Pears CMG The Redfern Gallery, London Photograph credits Beit Shalom, The National Holocaust Centre and Museum, Nottingham Imperial War Museum, London Leo Baeck College, The Sternberg Centre for Judaism, London The Liberal Synagogue, Elstree Mill Hill United Synagogue, London The National Gallery, London The Central Synagogue, London The New North London Synagogue, London The North Western Reform Synagogue, Alyth Gardens, London Yad Vashem, The Holocaust Martyrs’ and Heroes’ Remembrance Authority, Jerusalem, Israel Yad LaYeled, The Ghetto Fighters’ Museum, Israel Estate of Roman Halter Photography Justin Piperger

All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. British Library cataloguingin-publication data

Essays Caroline Swash, Third generation practitioner, lecturer and historian of stained glass Colin Wiggins, Special Projects Curator, The National Gallery, London

A catalogue record for this book is available from the British Library ISBN: 978-0-900157-47-9

Book Edited by David Glasser, assisted by Rachel Dickson and Thomas Hughes of Ben Uri Designed by Alan Slingsby

Detail illustrations Cover The Jerusalem Window The Central Synagogue, London Page iv Detail of Chai window The New North Western Reform Synagogue, London Works cited 14 Lino-Cuts by Aviva Halter-Hurn; Paintings and Watercolours by Roman Halter, exhibition catalogue, The Redfern Gallery, 20 Cork St London 4–31 April 2008 The Synagogues of Britain and Ireland: An Architectural and Social History Sharman Kadish Paul Mellon Centre for Studies in British Art, Yale University Press, New Haven, Conn. and London, 2011 Roman’s Journey Roman Halter Portobello Books, London, 2007 Poems; Window Designs, Michael Etkind and Roman Halter Holocaust Testimony 2, Cambridge 1983

Research Thomas Hughes and Andrea Fam, with special thanks to Ardyn Halter and Aloma Halter Our thanks also go to Chris Stephens, Tate Britain; Aviva Halter-Hurn, Claire Mandel and Stephen Ross

This publication has been generously supported by

We thank Manya Igel of Manya Igel Fine Arts for her Preferred Partnership which allows free entry to all our exhibitions in 2014

LIFE AND ART THROUGH STAINED GLASS Roman Halter

Roman Halter in his Studio © Roman Halter’s Estate

ivâ&#x20AC;&#x192; Roman Halter

2 Life and Art Through Stained Glass Foreword, David Glasser

5 Stained glass 16 Roman Halter: Stained Glass Artist Essay, Caroline Swash

40 Roman Halter: the Eternal Light Essay, Colin Wiggins

47 Stained glass cartoons 61 Early works 65 Paintings 85 Watercolours 103 Design 111 Roman Halter 112 Schedule of works 114 Ben Uri

FOREWORD

Life and art through stained glass

Ben Uri is delighted to present Roman Halter: Life and Art Through Stained Glass, in which we pay tribute to the extraordinary life and creativity of an architect, artist and survivor of the Holocaust (the Shoah). This exhibition, Halter’s first museum survey, re-focuses the artistic legacy of this remarkable man. Had circumstances been different, Halter would be best remembered today for his many artistic achievements. As it is, Halter is well known and revered first for his determination to ensure that young people, regardless of their background, recognised and understood both the extent of the evil and genocide of the past, and the frighteningly persistent reality of the potential for repetition. Acknowledging this deep and profound “cause”, our exhibition looks at the “effects”. Halter’s artworks span multiple media – from oil and gouache to aluminium and glass – all addressed in this survey. However, our principal focus of selection has been his work in stained glass. Perhaps for the first time, we identify both the creative expression and technique that lie behind Halter’s stained glass work – this most technical of media – as fundamental to his artistic process, from the very start of his full-time career as an artist in the mid-1970s. As a trained architect, Halter was more than capable of fulfilling the demands which

2 Roman Halter

stained glass makes for balance of colour, light and space. Yet it was his unique and poignant message, together with his ambition of design and inventive structuring, which set apart his designs from others. We are delighted to exhibit the product of Halter’s discussions with Henry Moore, Reclining Figure, made after Moore’s watercolour design. Many other examples of Halter’s glass can be seen across the capital; highlights include the eighteen Chai or “life” themed windows illuminating the North Western Reform Synagogue at Alyth Gardens, North West London, and the commanding Jacob Wrestling with the Angel at London’s Central Synagogue near Portland Place. The latter provoked disdain in the 1970s for its prismatic modernity and was removed from its original site; today it stands as an illuminating tribute to an artist who took the possibilities of stained glass composition to a daring, near-abstract extreme. Regrettably, unlike paintings and sculpture, stained glass windows cannot easily be moved and displayed at the Gallery. However this obstacle has not thwarted our effort to demonstrate that the architectural and structural principles, which lie behind such virtuoso works in glass, also inform Halter’s powerful compositions in paint. Halter himself wrote in a letter to his

artist son, Ardyn, that he liked to think of his paintings as “cartoons” or designs for stained glass. The same sculptural threading, which holds together the coloured glass at Alyth, can be seen in the bold seams of monumental oils such as Shlomo Hanged – depicting the brutal murder of his brother for a simple act of altruism during the Shoah – or the delicate lace lattice in Woman in Mantilla – a poignant memorial to the artist’s mother. Forty-two extraordinary, condensed watercolours that depict the beautiful English idyll of Dorset, the home county of Halter’s artist daughter Aviva Halter-Hurn, are compelling testimony to the power of direct visual communication. These serene pastorals are violently intruded upon by graphic depictions and eerily detached prose accounts of Holocaust atrocities. Halter’s near-perpetual staging of the beautiful alongside the horrifying is one of the defining characteristics of his artistic vision. We have many to thank for their part in bringing this complex critical assessment to fruition, especially essay writers Colin Wiggins, Special Projects Curator at The National Gallery, London, who brings a unique and intimate insight to the man and the artist, and Caroline Swash, a third generation practitioner and historian of stained glass, who never met Halter but

now wishes she had. Our sincere thanks also go to Roman’s wife Susan Halter for her unending warmth and support; to his three children Aloma, Aviva and Ardyn, all of whom have left their mark on the project; special mention and gratitude must be accorded to Ardyn whose intimate knowledge, patience and guidance has been invaluable to us; to Roman Halter’s friends Trevor and Daniela Pears and the Pears Foundation for their generous support enabling the publication of this book which will provide a lasting record of Halter the artist; to Chris Stephens at Tate Britain for his invaluable insights and analysis; to Alan Slingsby for his understanding and sensitive design of the book; and last but certainly not least to my colleagues at Ben Uri including Rachel Dickson, Sarah MacDougall, Andrea Fam and particularly Thomas Hughes who have dedicated much of the past year to delivering this exhibition. Halter’s work in paint and glass is as much about the symbolic as the aesthetic qualities of light. This exhibition pays tribute to a man devoted to the design of pure colour and light, in spite of the darkest childhood experiences – a life and art through stained glass. David J Glasser Executive Chairman

Roman Halter 3

STAINED GLASS

Zchor 1985-86 Leo Baeck College, London Stained glass and cast and polished aluminium alloy

6â&#x20AC;&#x192; Roman Halter

Ark Doors 1985-86 Leo Baeck College, London Stained glass and cast and polished aluminium alloy

Roman Halterâ&#x20AC;&#x192; 7

The Jerusalem Window 1997-78 Panels 1 to 5 The Central Synagogue, London Stained glass and cast bronze filigree

8â&#x20AC;&#x192; Roman Halter

Roman Halterâ&#x20AC;&#x192; 9

The Jerusalem Window 1977-78 Panels 6 to 10 The Central Synagogue, London Stained glass and cast bronze filigree

10â&#x20AC;&#x192; Roman Halter

Roman Halterâ&#x20AC;&#x192; 11

Jacob Wrestling with the Angel 1977-78 The Central Synagogue, London Stained glass and cast bronze filigree

12â&#x20AC;&#x192; Roman Halter

Fruits and Flowers of the Bible 1977-78 The Central Synagogue, London Stained glass and cast bronze filigree

Roman Halterâ&#x20AC;&#x192; 13

Stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

Stained glass windows by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

14 Roman Halter

Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

Stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

Roman Halter 15

Roman Halter: stained glass artist

Stained glass is an architectural art; it must illuminate the interior space with colour of the right depth and balance, day and evening. With such a powerfully luminous presence, the image and emotional mood it projects is crucial. Successful resolution depends upon the sensitivity, technical ability and artistic skills and flair of the craftsman. This is especially true when stained glass is required to decorate a place of worship, whether synagogue, cathedral, church, chapel, mosque or temple. The congregation expect and want such windows automatically to become an ingredient and enhancer of contemplation and prayer. Roman Halter was well positioned to make very good stained glass. He had trained and practised as an architect, experiences that enabled him to understand the way light and colour behave within

buildings. He was also a man with a visual vocabulary of his own. Marc Chagall, Henri Matisse, John Piper, Ervin Bossanyi were all artists for whom the process of making stained glass windows grew naturally from their own personal vision. All made serious demands upon the craft. By doing so, they pushed established practice in new directions, forcing fresh ways of seeing and new ways ofÂ working. Halter is in this company. In principal, his methods are not original. They hark back to the earliest use of coloured glass in buildings in the Middle East around the 8th century. In those days a wooden mould would be made, shaped to fit the window. The mould would then be filled with liquid plaster strengthened with camel hair and dung. Holes to direct the coloured light into the room below would be carved by hand at a 45Âş angle. When the

fig. 1

Studies for stained glass with sketched tracery Pencil and oil on canvas

fig. 2 Design for Ark, New North London Synagogue 2008 Printed plastic

16â&#x20AC;&#x192; Roman Halter

fig. 3 Stained glass window by Roman Halter and Aviva Halter-Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy

plaster had thoroughly dried, small pieces of brightly coloured glass would be placed behind each opening, fixed in position with a layer of egg-white. The interior surface would then be painted and gilded. Halter’s method was not dissimilar. The framework holding the glass in position was not the conventional H section strips of malleable lead but a solid sculptural material – aluminium or bronze. Selected pieces of coloured glass were carefully cut to fit behind the metal frame and bonded with adhesive into position. The frame, however, was not just a strip of metal. Halter moulded the inner surface of each shape, astutely softening its outline to create a coloured shadow. The only other system similar to that which Halter used was the much cruder technique pioneered in France in the 1920s and used again during the 1950s in the rebuilding of churches destroyed by Allied and Nazi bombardment during the Second World War. ‘Dalle de Verre’ or ‘Concrete Glass’ was the term used to describe a process whereby liquid concrete was poured around coloured glass blocks placed in timber frames. When cured, the sections could be placed in position in a building to create a sturdy wall pierced with brilliant colour. Halter’s methods were far more subtle. The metal he selected to hold and frame his coloured glass could be dull or shiny, thick or thin, according to the situations for which his stained glass windows were designed. With his considerable experience as an architect, Halter was exceptionally alert to the importance of unity within interior space. For the New North London Synagogue (Van Heyningen and Haward Architects, 2011) he framed the ark with a sequence of brightly coloured vertical images (fig 2). The sacred numbers of the Ten Commandments were picked out in gold on a metal base and the spaces between decorated with lively birds perched on gilded branches (fig 3). The choice of strong colour and simple imagery worked well with the restrained interior décor of the new synagogue. Glass by Halter can also be seen in the enchanting ‘Room of Prayer’ in the Leo Baeck College within the Sternberg Centre’s campus in North London. Shimmering aluminium doors backed with coloured glass enclose the ark (fig. 4) while the recessed windows of the original house have been transformed by metal and glass ‘curtains’, a sequence of aluminium frames holding vivid glass flowers, backed by opal sheets for controlling the daylight (figs. 5&6). Roman and his artist daughter Aviva have adorned the canopy and walls with stencilled flowers. Relevant texts in Hebrew and Roman Halter 17

fig 4.

Ark doors 1985–6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy

English shimmer silver in light, and grey in shadow. Design and craft of the Room is holistic and even the screw heads have been transformed into tiny flowers. Other delights created by father and daughter include a hand-stitched curtain and painted chairs and tables which help to create a space both ‘special’ and welcoming. Perhaps the most moving item in

the room is the ‘Memorial’, its letters exquisitely placed, silver against deep blue glass. Another deeply engaging example of Roman Halter’s work can be seen in his own North Western Reform Synagogue at Alyth Gardens in North West London. Over a period of three years, Halter worked to enrich the simple interior with coloured glass. Rooted at the base, young trees grow towards the sun, filled with flowers and fruit. Among the leaves, Halter has placed sacred symbols along with personal memorabilia recalling each window’s dedicatee. This time-honoured practice of juxtaposing sacred figures with earthly donors can be found in stained glass windows throughout mediaeval Europe. Worshipper and visitor alike can enjoy the artist’s emotional yet meticulous attention to detail: the wings of a colourful insect, curve of a green leaf, edge of a precious book, turn of a bent head, expressed in metal and colour (fig. 7). To complete the sequence, Halter’s son Ardyn has created a window in a complementary technique, on the theme of Time at the west-facing wall. It depicts Mount Sinai and the Hebrew months of the year. Roman Halter’s work in stained glass is both personal and in many ways quite unique. Imagery has been clearly and colourfully stated. Line, used with such power in his drawings, has been deployed with verve and imagination. To express that line with the greatest possible force, Halter has transformed into sculpture the connecting role assigned to strips of lead (fig. 8). His method creates a rare, extra dimension to the coloured composition that traditional lead can never achieve. He was an innovator and his work has fig. 5 Stained glass window frame Leo Baeck College, London 1985–6 Stained glass and cast and polished aluminium alloy Designed and made by Roman Halter and Aviva Halter‑Hurn

fig. 6 Detail of stained glass window frame Leo Baeck College, London 1985–6 Stained glass and cast and polished aluminium alloy

18 Roman Halter

fig. 7

fig. 9

Detail of the Chai windows The New North Western Reform Synagogue, London

added depth and meaning, not just to the visual atmosphere of interiors and places of worship across London and Israel, but also to the very rich body of stained glass created by a small group of distinguished artists, a contribution for which Halter deservedly will be remembered. Caroline Swash Practitioner and historian of stained glass

fig. 8 Annotated study for stained glass Ink, gouache and acrylic on paper

Roman Halterâ&#x20AC;&#x192; 19

Stained glass windows (1-9) on the theme of “Chai” – Life (composite image) 1983–6 The North Western Reform Synagogue, London Stained glass and cast aluminium alloy

20 Roman Halter

Over a period of three years Halter created 18 windows at the North Western Reform Synagogue at Alyth Gardens, North West London, each of them in four sections. The theme Chai – Life – plays on the Hebrew tradition of gimatria where the letters Het and Yud spell the Hebrew word for life. Roman Halter 21

Stained glass windows (10-18) on the theme of “Chai” – Life (composite image) 1983–6 The North Western Reform Synagogue, London Stained glass and cast aluminium alloy

22 Roman Halter

Roman Halterâ&#x20AC;&#x192; 23

Detail of the Chai windows The New North Western Reform Synagogue, London

24â&#x20AC;&#x192; Roman Halter

Detail of the Chai windows The New North Western Reform Synagogue, London

Roman Halterâ&#x20AC;&#x192; 25

Detail of “The Song of Songs” from the Chai windows The North Western Reform Synagogue, London

26 Roman Halter

Detail of The Menorah window The New North Western Reform Synagogue, London

Roman Halterâ&#x20AC;&#x192; 27

In Yad LaYeled, a museum centre at The Ghetto Fightersâ&#x20AC;&#x2122; Museum, Israel, commemorating the one-and-a-half million Jewish children who were killed during the Holocaust, Roman Halter and Ardyn Halter interpreted the drawings made by children in the Theresienstadt camp (published in No More Butterflies in the Ghetto) and interpreted them in stained glass. The brilliance of the colours in those windows communicates the core intention that the drawings of those children be a living link to children visiting the centre today. The windows are set into the wall with plaster recesses that serve like funnels carrying the coloured light from the windows of the rotunda down to the visitors below. The father-son Halter team was influenced in this detail by Le Corbusierâ&#x20AC;&#x2122;s chapel at Ronchamp.

28â&#x20AC;&#x192; Roman Halter

Children and Barbed Wire window 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

Roman Halter 29

Bunkbed window 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

30 Roman Halter

Butterfly window, Yad LaYeled 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

Roman Halter 31

Girl with Handkerchief window, Yad LaYeled 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

32 Roman Halter

Chair and Table window, Yad LaYeled 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

Roman Halter 33

Flower window 1988–1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree

34 Roman Halter

Stained glass window 1984 Mill Hill United Synagogue, London Stained glass and cast aluminium alloy

Roman Halterâ&#x20AC;&#x192; 35

Stained glass window 1997 Lady Sarah Cohen House, Friern Barnet, London Stained glass and cast aluminium alloy

36â&#x20AC;&#x192; Roman Halter

Stained glass window 1997 Lady Sarah Cohen House, Friern Barnet, London Stained glass and cast aluminium alloy

Roman Halterâ&#x20AC;&#x192; 37

38â&#x20AC;&#x192; Roman Halter

Reclining figure 1986 Stained glass and cast aluminium alloy Roman Halter after Henry Moore

Roman Halterâ&#x20AC;&#x192; 39

Roman Halter: the Eternal Light And the light shineth in the darkness and the darkness comprehended it not

John 1:5

Lucian Freud was fond of quoting from T. S. Eliot: “The more perfect the artist, the more completely separate in him will be the man who suffers and the mind that creates.” Whether Eliot’s statement is true or not, it most certainly applies to Roman Halter. His remarkable story is documented in his practice as a painter, draughtsman and designer of stained glass. His work as a visual artist stands as an eloquent summary of his own narrative, Roman’s Journey, his masterpiece of detached story telling. Published in 2007, over half a century after the ending of the Second World War, this remarkable book, sensitively edited by his daughter Aloma, sheds light on the life and character of the artist to whom this catalogue is devoted and shows him as somebody deeply focussed and rational. Personal emotions, no matter how powerfully felt, were not allowed to interfere with his life’s mission, which was to tell of what happened. The clichéd idea of time being a great healer does not apply to those who suffered during the Holocaust. However, the gap of half a century does allow “the man who suffers and the mind that creates” a period to assimilate his experiences, if not to actually come to terms with them. It is a commonplace of Holocaust art and literature that the survivors need to bury their memories, often for decades, before feeling able to confront them. This is not just pertinent to Holocaust survivors. Men and women who witnessed other explosions of savagery have also kept things deeply submerged. Partners and families often have no idea of what their loved‑ones experienced. Sometimes, silence seems the only option. Following the war, England became Roman’s home. His post-war career as an architect was a great success. His practice thrived. His work is mentioned in Pevsner’s The Buildings of England. He formed friendships, both professional and personal, with many of the leading figures of his day. These years also saw a happy marriage to Susie Nador and the raising of three children, facilitated surely by keeping 40 Roman Halter

fig. 1

Mother with Babies 1974 Oil on canvas Imperial War Museum

silent, not just to others but to himself as well. In 1973 however, with the support of his family, he gave up his professional career. After three decades, the need to talk became overwhelming. Following this decision, came a remarkable second career, that of artist. He began to paint and draw. He took a three-month course to learn about stained glass and etching, which was to equip him with the technical means to express his vision. Indeed, the art of stained glass was to become especially significant for him. He also began to order his thoughts for Roman’s Journey. Roman often used to talk about his grandfather who, as the Holocaust began to reach boiling point, made his 12-year-old grandson promise that when he survived he would tell people about what he had seen, about what had happened. And Roman would always emphasise that his grandfather had said “when” and not “if ”. In 2006 the Imperial War Museum acquired a set of seven paintings (figs. 1–7) that had been

fig. 2

fig. 3

Starved Faces 1974 Oil on canvas Imperial War Museum

Shlomo 1 1974 Oil on canvas Imperial War Museum

started in 1974 and completed in 1977. To make this acquisition, the museum needed to change its policy. It already had a large collection of Holocaust art but all of this work had been made at the time. Its role in the collection was not primarily artistic: it was there as direct witness. Roman’s work, however, had been made well after the Holocaust, looking back after a period of more than 30 years. The museum convened a small committee, with staff members and external consultants, who concluded

unanimously that it was now time for the museum to examine through its collections the lasting legacy of conflict. So these seven works were the first to be acquired under these new terms. To accompany these paintings Roman produced a set of captions, spare in language. They are written from the point of view of an outsider, as if they are by a detached witness relating these events as if they had no impact upon him. The texts do not even hint at what emotions the writer was experiencing as he watched what was happening in front of him. Even then, as the events were unfolding, it seems that Roman was burying the impact of what he was seeing. It is as if he was there simply to take notes, to record. To allow himself to feel any psychological disturbance, to be traumatised by what he saw, would be the first step in allowing himself to lose his hope, to become a victim of the Holocaust himself and accordingly, to break his promise to his grandfather. This promise stayed with Roman as he saw fellow Jews losing all hope and desperately finding ways to hasten their own deaths. One of the captions, written to go alongside Man on the Electrified Barbed Wire (fig. 4), speaks about how he always held onto hope and contrasts this, without judgement, with those unable to do the same. It was if he knew that his youth was on his side. “It was different for men over 30. A man over 30 knew what life was like before the war and what the world was like then. He could understand that, whether the Germans were winning or losing, they were continuing

fig. 4

Man on Electrified Barbed Wire 1974 Oil on canvas Imperial War Museum

Roman Halter 41

fig. 5

fig. 6

Moses The Prophet 1974 Oil on canvas Imperial War Museum

Transport 1974 Oil on canvas Imperial War Museum

to murder Jews. He could see no hope in the present or the future. This man on the wire has lost his children. They were taken from him. This broke the spring of his life. His daily tortures, starvation and the lack of hope made it easier to do away with himself than live. So he ended his life on the electrified barbed-wire fence that surrounded us, where it took only seconds to die.” This picture, like the wire it depicts, is spiky and sharp. Its angularity, rooted in the Expressionism of early twentieth century German art, gives a stark yet easy to read composition. Its impact is immediate, yet it also holds within it elements that add more to the story. Closer viewing reveals smaller details that show, in a kind of time lapse, the man struggling on the fence while he undergoes the agony of electrocution, before he is rendered lifeless in the final, dominant image. Like all of the Imperial War Museum paintings, it is made carefully, without anger or emotion, with a specific objective: that is, to narrate clearly this actual incident. Whatever the artist felt when recalling this event is, of necessity, sublimated and suppressed in the interests of truth. This whole series of paintings is defined by a hard black outlining that holds each composition tightly together, reminiscent of the lead framework of stained glass windows. Indeed, Roman made these paintings with stained glass very much in mind and expressed the wish in a private letter that these images might one day be made into windows, at an appropriate venue. Roman’s interest and expertise in the medium of stained glass is witnessed by the

many projects he undertook, often in collaboration with his artist children Ardyn and Aviva, to produce designs for windows in various synagogues both in the UK and Israel. Roman was a deeply cultured man. His paintings and his glass work are visually literate, the work of a man who steeped himself in the values of civilisation that much of Europe rejected in the years 193945. He was 12 when the Nazis took over Chodecz, the Polish village in which he grew up, so he had not had much time to acquaint himself with the history of European culture and still less with its history of image making which, obviously, did not feature much in a Jewish childhood. Nonetheless, images became central to the process of re-civilising himself, following the privations of the war years. He remembers The National Gallery being of great importance to him, of finding pictures that moved him by their beauty but also by triggering memories of his past. This became increasingly so when he began work on his paintings and he became a regular visitor. One of his most poignant responses was to Goya’s Doña Isabel de Porcel (fig. 8). Heroic in her dignity, superior and sensuous, for Roman she came to symbolise his mother, who perished in an extermination camp. On the Sabbath, in happier times, she would dress herself up in her mantilla and sit in the Ladies’ section of the Chodecz synagogue. The mantilla was a fashion brought to Poland when the Jews were expelled from Spain in 1492 and there it held on, becoming worn by Jewish ladies on

42 Roman Halter

fig. 7

Woman Wearing Mantilla 1974 Oil on canvas Imperial War Museum

fig. 8

Doña Isabel de Porcel Francisco de Goya before 1805 The National Gallery, London

special occasions. “Before producing this painting, I visited the National Gallery in London and came across Goya’s portrait of Doña Isabel de Porcel. His painting reminded me of my mother’s dignified look. My mother had a longer face. Each time I see Doña Isabel de Porcel I imagine my mother sitting in the balcony and looking down on the men praying below.” Roman’s Woman Wearing Mantilla (fig. 7) is however more than simply a fond memory of his mother at the synagogue. The fronds of lace are delicately and subtly depicted and conceal further tiny portraits, each with a different expression. In the two upper corners there are groups of figures, corralled, huddled and naked. Closer viewing will see they are woman holding small children, echoing the composition of another of the paintings from this series, Mother with Babies. Roman was never aware of what specific fate his own mother suffered and she stands in his painting as a symbol of all those mothers who perished. There are surely cogent reasons why Roman was attracted to the medium of stained glass. Its clarity and boldness, with the black divisions of the

leaded framework incorporated into the design, make it a medium that is highly appropriate for bold visual statements that present themselves immediately to the viewer. Indeed, for Roman the need to communicate, to make unambiguous statements loudly and clearly, overrode any other considerations. Many of Roman’s glass productions feature rich saturated colours and beautiful motifs taken from nature. They are often calm, reassuring and evoke a mood of spiritual harmony. Visit, for example, the Central Synagogue in London and you will be met with an expansive vista of the city of Jerusalem. Its location, above the landing of a large staircase, gives it an additional meaning because visitors must approach it from beneath, whilst looking upwards. Upwards, as if towards heaven. The rich blue sky becomes paler yet brighter as it descends towards the horizon and is complemented by the infinity of the real sky that is, of course, behind it. The artist has not just considered the design itself but about how it will function in tandem with the light that shines through it from outside. Beneath the blue sky is a rhythmic patchwork of shapes amongst which one Roman Halter 43

fig. 9

Fruits and Flowers of The Bible Central Synagogue, London Stained glass and cast bronze filigree

can identify domes and towers, gateways and arches, pitched roofs, walls and alleyways that make up an apparently random pattern that jostles and sparkles, evoking the sprawl of the ancient city and its history, a city bathed in celestial light. On the landing beneath and set further back than the Jerusalem window, is a set of panels depicting fruits and flowers of the Bible (fig. 9). Visitors walk directly past them as they climb the stairs, as if these images represent the tangible things of our own time that we pause and appreciate as we pass by. Roman’s windows render the stairs themselves symbolic and we realise that the image of Jerusalem, towards which we climb, is neither literal nor strictly topographical. It is an ideal Jerusalem, an image of what that troubled city aspires to be and in our effort in climbing the stairs to reach it, we realise that each one of our footsteps has become symbolic. Yet even when we reach the top, we can only view the heavenly Jerusalem from afar. What a shame the congregants found the third 44 Roman Halter

window that Roman made for this venue, too “modern” and successfully agitated for its removal. Its subject was Jacob Wrestling with the Angel and it is now displayed elsewhere in the synagogue. With a little bit of imagination the congregants might have seen that its message of struggle with the divine, to be considered whilst visitors are ascending the stairs towards the celestial city, is a universal one and to read it together with the Jerusalem window and Fruits and Flowers of the Bible would give it an even deeper meaning. Roman worked with the expressive possibilities of the rich colour of stained glass to produce works of deep beauty. However, he also used it to depict less happy images and when we identify, for example, a mother with her small children huddled together on their way to the gas chamber, we are taken up short at the paradox of the horror of the scene contrasted with the beauty of the depiction. The colours chosen by Roman to represent this scene are pure and resonant. They are not used symbolically, nor expressively. They simply seem to be, to exist, obeying their own rules without reference to the stupidity and cruelty of the story that the window tells. There is an account by a survivor of how, through the slats in his cattle truck, he glimpsed the landscape around Auschwitz and was struck by its beauty. This finding of beauty where there is horror is a tough statement. It cannot easily be explained or understood. However, throughout Roman’s work there is this same clash of opposites. Each idea intensifies the other. The Imperial War Museum paintings however, reduce colour to a minimum. Even in those passages where colour does appear, it is reduced to a cold thin coating. The intrinsic beauty of colour has been sucked out and stands in contrast to the bold black framework, geared to expression and clarity. But there is surely a deeper reason for Roman to choose to practise as a stained glass artist that is beyond the merely aesthetic. Inevitably and poignantly, there is a huge symbolism in the story of an artist who survived the darkness of the Holocaust becoming a specialist in the art of stained glass. It is, quite simply, about light. Throughout the Old Testament, God makes his work and his presence known through the medium of light. “Let there be light,” he says, “and there was light.” “Thou art my lamp, O Lord,” says Samuel, “and the Lord will lighten my darkness.” The Psalms are full of references to light and there are many – “For you have delivered me from death … that I may walk before God in the light of life” – that seem to be so deeply relevant to Roman’s story. There

fig. 10

Untitled watercolour triptych, bottom titled Floods in Dorset Watercolour and ink on paper

are too many incidences to even attempt a list. One of the most telling moments comes in the Book of Isaiah. “The people that walked in darkness have seen a great light: they that dwell in the land of the shadow of death, upon them hath the light shined.” Whether Roman was aware of this verse, or saw it as specifically applicable to those Jews who endured the Holocaust, does not matter. The fact is that in Judaeo-Christian culture, the most powerful and ubiquitous symbol of eternal life is light. Even as the man on the electrified fence breathes his last, there is light. Roman kept his promise to his grandfather and spent the last years of his life taking part in discussions, working with the curators of the Holocaust exhibition at the Imperial War Museum, visiting schools to tell his story and much more besides. He did this not to elicit pity or sympathy, but in order to be able to tell the truth and to make as sure as he could that his voice was heard. He became a hard-working anti-racist campaigner not

just with specific reference to the Holocaust. In 2007 he took part in events to commemorate the abolition of the slave trade. His commitment to combat racism in all its forms was unquenchable. Those who knew him will remember his generosity of spirit and his determination to enjoy his life, which was utterly infectious and irresistible. But even as he laughed and loved, his buried memories forced themselves to the surface of his consciousness and caused him great pain. In the last decade or so of his life he attempted to exorcise this pain – whether he was successful or not is doubtful – through making a series of small watercolour landscapes that represented the landscape around Bridport, Dorset, the home of his artist daughter Aviva (fig 10). The gently swelling Dorset countryside is one of the most beautiful and peaceful parts of Roman’s adopted home country but in his dreams, in which he imagined himself on long rural walks, vivid memories of his experiences began to resurface and he felt driven to represent them in his art. He made these little landscapes for several years. There are views from Pilsden Point, the sea shore at Lyme Regis, Bridport, the view towards Dorchester and Chesil Beach, the area around Bettiscombe and more. Surprisingly, shockingly almost, he began to cut and paste these fragile images into his manuscript of Roman’s Journey. He would be writing about specific horrors –the murders that he witnessed of his Jewish schoolmates, for example – and yet juxtapose the text with a delicate watercolour of green rolling hills. It is doubtful that even Roman could give an explanation for this and we must all try to come to our own understanding. Perhaps it was a way of preventing the ghastliness of his recollections from smothering him, a way of telling himself that it was alright now, that he was safe. But that safety, of course, was only there during his waking hours. When he slept, there was nothing he could do to prevent the memories that were burnt into him from forcing themselves to the surface of his consciousness, during his dreams (fig. 11). It was there in his dreams that Roman suffered. These watercolours are small, just a few centimetres across and their tiny scale means that it is necessary to look closely at them, to peer into them. And this is when we receive a severe jolt. The idyllic pastoral scenery that lulls us to expect tranquillity and ease becomes the backdrop to Roman’s full-on confrontation of his memories. As with the Imperial War Museum paintings, he accompanied each work with a brief written text. For example: “I dreamt on 11th August 2004 at Roman Halter 45

fig. 11

Dorset, 1.45am, Saturday April 2006 Watercolour and ink on paper

1.55am, that in a treeless landscape the SS men led Jewish men, women and children and shot them into pre-dug pits, one on the left attended by SS men and the other, on the right, where all beings were no longer alive.” Or “I dreamt on 25th July 2005 at 1am that as I was making my way to the beach in Dorset, near Bridport, on a mount to my left stood a group of SS men, dressed in black uniforms, chatting among themselves.” The English rural idyll is brutally intruded upon by the events of over 60 years previously. Looking closely at these works, they have two distinct characteristics. The first is artistic and connects with the peculiarly English and Romantic view of the countryside that we find in, for example, Samuel Palmer or Graham Sutherland. We might describe this as reassuring and comforting. But then scratched on aggressively, in sharp black strokes of a pen, the memories spit themselves out, vile and scabrous, polluting all that they touch. They are drawn with anger, with fear, with emotion, as if Roman in his last years is now losing the strength to be solely objective. Up until these small works, he was making his art to tell of the stories of other people and not himself. He, after all, survived. He was one of the lucky ones. But here, in what was really the final project of his life, was autobiography. The “man who suffers and the mind that creates” 46 Roman Halter

could no longer be kept separate. Roman lived, outwardly at least, a happy and successful life for 30 years before his buried memories demanded attention. The result was a series of powerfully telling works, in paint and glass, made over a period of 40 years through which Roman continued, and indeed continues after his death, to keep his promise to his grandfather. Indeed, it might even be concluded that in making these works, Roman was honouring that commitment he made as a 12-year-old, a commitment that was ultimately not just to one old man, but to all those who were victims. “… they that dwell in the land of the shadow of death, upon them hath the light shined.” Colin Wiggins Special Projects Curator The National Gallery, London

STAINED GLASS CARTOONS

Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper

48â&#x20AC;&#x192; Roman Halter

Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 49

Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper

50â&#x20AC;&#x192; Roman Halter

Cartoon for Stained Glass 2002 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 51

Cartoon for Stained Glass 2001-2 Gouache, acrylic and ink on mounted paper

52â&#x20AC;&#x192; Roman Halter

Cartoon for Stained Glass 2001-2 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 53

Cartoon for Stained Glass 2003 Gouache, acrylic and ink on mounted paper

54â&#x20AC;&#x192; Roman Halter

Cartoon for Stained Glass 2002 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 55

Cartoon for Stained Glass 2004 Gouache, acrylic and ink on mounted paper

56â&#x20AC;&#x192; Roman Halter

Cartoon for Stained Glass c. 2005-6 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 57

Cartoon for Stained Glass c. 2005 Gouache, acrylic and ink on mounted paper

58â&#x20AC;&#x192; Roman Halter

Cartoon for Stained Glass 2006 Gouache, acrylic and ink on mounted paper

Roman Halterâ&#x20AC;&#x192; 59

Death on the Death March, design for stained glass and cast aluminium and alloy 1978 Acrylic and gouache on paper

Verso inscription Death on the Death March in Feb. 1945 (my friend Eliasch Kadysiewicz, b.1926) Designed for Stained-glass and Cast Al.Alloy Roman During the bombing of Dresden on the 13th Feb 1945. The munition [sic.] factory on 68 Schandauer Str. in which we worked as slave labour was severely damaged by incendiary bombs (the big heavy bombs missed us). The S. S. who guarded us thought that they could make us repair the damage quickly and restart production. First, we were all marched to PIRNA where they divided us into three groups. Group 1 was made up of those who admitted to feeling weak, exhausted and unwell. ‘All you need is some rest and more food’ said the S. S. office [sic.] in charge. They were taken to a makeshift recuperation shed and were given ‘VITAMIN’ injections. None of them came out alive. Group 2 were taken to Dresden to collect the dead. I was in Group 3, we were taken back to the factory to pump out the water, clean the machines and repair the bomb damage. After two weeks of very hard work (and sleeping close to colleagues from Group 2 who came back each evening smelling of the rotten dead) 60 Roman Halter

the S. S. realized that the factory could not be made to function. So all of us from Group 2 and 3 were marched away from Dresden in a southerly direction. We were made to walk at the double through built-up areas. People came out of their homes to shout abuse at us. Some of us thought that they blamed us for the bombing of Dresden. The S. S. guard encouraged the onlookers to be as bold as they liked. A few of them came very close to our column and spat on us. Others who stood well back began to pelt us with stones. One person, a woman, standing by herself, began throwing pieces of bread. She actually threw bread at us. Wonderful dry pieces of bread. My friend Eliasch bent down to pick up a piece which fell short of our column. Doing so he had to step slightly out of line. An S. S. guard at that moment hit him on the head. For the remainder of our march that day Eliasch walked holding the side of his head. That night we were made to sleep in a field. In the morning Eliasch did not awake. He died during the night. He was 18, one year older than I was. To the Trustees and staff of the Pears Foundation with appreciative thanks for their help. Roman Halter

EARLY WORKS

Perspective of Courtyard â&#x20AC;&#x201C; Links between Bedroom/Garage Unit Blocks sketch 1956 Ink and watercolour on card and cardboard

Children on Pavement c. 1958 Pencil and watercolour on paper

62â&#x20AC;&#x192; Roman Halter

Rooftops c.1958 Carbon, ink and watercolour on paper

Roman Halterâ&#x20AC;&#x192; 63

Two Female Figures Pencil, ink, watercolour and gouache on paper

Grandfather 1962-3 Oil on parquet wooden strips

64â&#x20AC;&#x192; Roman Halter

Grandmother 1962-3 Oil on parquet wooden strips

PAINTINGS

Studies for stained glass 2003 Gouache and acrylic on card

66â&#x20AC;&#x192; Roman Halter

Studies for stained glass 2003 Gouache and acrylic on card

Couple 1979 Oil on canvas

Roman Halterâ&#x20AC;&#x192; 67

Study for stained glass 1978-9 Oil on board

68â&#x20AC;&#x192; Roman Halter

Mothers and Children 1991 Oil on canvas

Roman Halterâ&#x20AC;&#x192; 69

Study for stained glass on board c. 1958-60;1998 Oil on board

70â&#x20AC;&#x192; Roman Halter

Woman in Mantilla 1974 Oil on canvas

Roman Halterâ&#x20AC;&#x192; 71

Shlomo Hanged 1974 Oil on canvas

“In some of the paintings I saw later in life, where Christ is being taken down from the cross, I saw Shlomo” Roman Halter Imperial War Museum 72 Roman Halter

Crucifixion of Christ – His Suffering 1975 Pen, ink and watercolour on paper

Roman Halter 73

The Prophet 1974 Oil on canvas

The Prophet 1974 Ink, gouache and acrylic on paper

74â&#x20AC;&#x192; Roman Halter

Day of Liberation 4/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas

Day of Liberation 1/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas

Day of Liberation 2/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas

Day of Liberation 3/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas

Roman Halterâ&#x20AC;&#x192; 75

Grandfather 1974 Acrylic on canvas

76â&#x20AC;&#x192; Roman Halter

Tradition 1975 Lithograph from design for stained glass windows for The Leo Baeck School Synagogue, Haifa, Israel

Roman Halterâ&#x20AC;&#x192; 77

The Cry c. 1996-7 Ink, gouache, acrylic on paper

De Profundis c. 1996-7 Ink, gouache and acrylic on paper

78â&#x20AC;&#x192; Roman Halter

Mother Cradling Child c. 1996-7 Ink, gouache, acrylic on paper

Depth c. 1996-7 Ink, gouache and acrylic on paper

Grandfather and Grandson 1976 Indian ink on paper

Roman Halterâ&#x20AC;&#x192; 79

Self-portrait 2000 Oil, gouache and acrylic mounted on board

Family 2001-2 Oil on canvas

80â&#x20AC;&#x192; Roman Halter

Lovers 2001-2 Oil on board Parents 2001-2 Oil on board

Roman Halterâ&#x20AC;&#x192; 81

Parents 1991 Oil on canvas

82â&#x20AC;&#x192; Roman Halter

Man on Electrified Barbed Wire 2007-8 Acrylic on canvas

Roman Halterâ&#x20AC;&#x192; 83

WATERCOLOURS

Halter began painting small, condensed landscapes in watercolour inspired by the beautiful scenery of Dorset, near the home of his daughter Aviva Halter-Hurn.

Untitled watercolour triptych Watercolour and ink on paper

86â&#x20AC;&#x192; Roman Halter

Untitled watercolour triptych 2011 Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 87

Untitled watercolour triptych Watercolour and ink on paper Bottom titled Floods in Dorset 2001

88â&#x20AC;&#x192; Roman Halter

Untitled watercolour triptych Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 89

Untitled small watercolour Watercolour and ink on paper

90â&#x20AC;&#x192; Roman Halter

Untitled small watercolour Watercolour and ink on paper

Untitled medium watercolour Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 91

Untitled small watercolour Watercolour and ink on paper

92â&#x20AC;&#x192; Roman Halter

Untitled small watercolour 2000 Watercolour and ink on paper

Untitled small watercolour Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 93

In 2000 Halter’s sleep patterns changed and he discovered he could remember his dreams – and his nightmares. He continued to document in watercolour how nightmarish recollections of his childhood experiences in occupied Poland intruded upon the idyllic countryside of Dorset.

Near Chodecz, 2.15am, 27 December 2000 Watercolour and ink on paper

Chodecz and Dorset Hills, 1.45am, Friday 26 October 2001 Watercolour and ink on paper

94 Roman Halter

3pm, Sunday 23Â September, Yom-Kippur Day Watercolour and ink on paper

2.45am, Sunday 14 April 2002 Watercolour and ink on paper

2.50am, 27 February 2002 Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 95

Death March from Dresden, 1.10am, Tuesday 26 March 2002 Watercolour and ink on paper

Chodecz in Spring 1940, Thursday 11 April 2002 Watercolour and ink on paper

Chodecz to Przedecz, 2.45am, Thursday 11 July Watercolour and ink on paper

96â&#x20AC;&#x192; Roman Halter

Village outside Chodecz, 12.30am, 8 November 2002 Watercolour and ink on paper

Treeless Landscape, 1.55am, 14 August 2004 Watercolour and ink on paper

Saturday 5 Feb 2005 Watercolour and ink on paper

Chodecz and Dorset, 6 April 2005 Watercolour and ink on paper

Roman Halter 97

1.30am, Monday 30 2005 Watercolour and ink on paper

Chodecz in Winter ‘39-’40, Saturday 30 July 2005 Watercolour and ink on paper

Wednesday 19 October 2005 Watercolour and ink on paper

98 Roman Halter

1.50am, Sunday 30 October 2005 Watercolour and ink on paper

Dorset, 1.45am, Saturday April 2006 Watercolour and ink on paper

Near Chodecz, 12.50am, Saturday 10 June 2006 Watercolour and ink on paper

Roman Halter 99

Death March from Dresden, March 1945, 1.28am Monday 27 November 2006 Watercolour and ink on paper

Sand Pits Near Chodecz, 1.50am, Wednesday 26 March 2006 Watercolour and ink on paper

100â&#x20AC;&#x192; Roman Halter

Chodecz and Dorset, Friday 18 July 2008 Watercolour and ink on paper

12.10am, Saturday 19 July 2008 Watercolour and ink on paper

Roman Halterâ&#x20AC;&#x192; 101

Spring Trees Watercolour and ink on paper

102â&#x20AC;&#x192; Roman Halter

DESIGN

Ark 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy, with oak veneer ply

104â&#x20AC;&#x192; Roman Halter

Small chair Leo Baeck College, London Designed and made by Roman Halter Oak veneer ply Small cushion Designed by Roman Halter

Large chair Leo Baeck College, London Designed and made by Roman Halter Oak veneer ply Large cushion Designed by Roman Halter

Torah Reading Table 1985-6 Leo Baeck College, London

Roman Halterâ&#x20AC;&#x192; 105

Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Designed by Roman Halter and Aviva Halter-Hurn

106â&#x20AC;&#x192; Roman Halter

Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Designed by Roman Halter and Aviva Halter-Hurn

Detail of stained glass windowÂ frame Leo Baeck College, London

Roman Halterâ&#x20AC;&#x192; 107

Royal Coat of Arms Metalwork (cast filigree)

Royal Coat of Arms Metalwork cast filigree

108â&#x20AC;&#x192; Roman Halter

Main gate 1975 Yad Vashem, the Holocaust Martyrs’ and Heroes’ Remembrance Authority, Jerusalem, Israel Concrete and cast aluminium alloy

Roman Halter 109

Outside Zchor Leo Baeck College, London Cast and polished aluminium alloy

110â&#x20AC;&#x192; Roman Halter

Roman Halter

Born July 7, 1927 in Chodecz, northern Poland, Roman Halter came to England in 1945 having survived the death camp at Auschwitz. After a successful career as an architect, in the early 1970s Halter embarked on his artistic career. He died in London in 2012 and is survived by his wife Susan Halter and his three children, Aloma, Ardyn and Aviva. Exhibitions London Jewish Cultural Centre, London, 2009 The Redfern Gallery, London, 2008 (with Aviva Halter-Hurn) Tate Britain, London, 2005 Ben Uri, London, 1976, 1979 Public Collections and Buildings Beit Shalom, The National Holocaust Centre and Museum, Nottingham Central Synagogue, London Imperial War Museum, London Lady Sarah Cohen House, Friern Barnet, London Leo Baeck College, The Sternberg Centre for Judaism, London The Liberal Synagogue, Elstree Mill Hill United Synagogue, London New North London Synagogue, The Sternberg Centre for Judaism, London North Western Reform Synagogue, Alyth Gardens, London Ghetto Fightersâ&#x20AC;&#x2122; Museum, Israel Yad Vashem, Jerusalem

Roman Halterâ&#x20AC;&#x192; 111

Schedule of works Page

Work

6 Zchor 1985-86 Leo Baeck College, London Stained glass and cast and polished aluminium alloy 41.5 x 43 x 30.25 cm 7 Ark Doors 1985-86 Leo Baeck College, London Stained glass and cast and polished aluminium alloy 126.5 x 98 cm (each window) 126.5 x 196 cm (both windows) 8 The Jerusalem Window 1977-78 Panels 1 to 5 The Central Synagogue, London Stained glass and cast bronze filigree 113.5 x 470 cm 113.5 x 47 cm (each pane)

Page

Work

16 Studies for stained glass with sketched tracery Pencil and oil on canvas 91 x 91 cm 16 Design for Ark, New North London Synagogue 2008 Printed plastic 180 x 119 cm 17 Stained glass window, New North London Synagogue Stained glass and cast and polished aluminium alloy 272.25 x 46.5 cm 18 Ark doors Leo Baeck College, London Stained glass and cast and polished aluminium alloy 126.5 x 98 (each window) 126.5 x 196 (both windows)

10 The Jerusalem Window 1977-78 Panels 6 to 10 The Central Synagogue, London Stained glass and cast bronze filigree 113.5 x 470 cm 113.5 x 47 cm (each pane)

18 Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Each square 30 x 30 cm Designed and made by Roman Halter and Aviva Halter‑Hurn

12 Jacob Wrestling with the Angel 1977-78 The Central Synagogue, London Stained glass and cast bronze filigree 292.5 x 170.5 cm

18 Detail of stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy 30 x 30 cm

13 Fruits and Flowers of the Bible 1977-78 The Central Synagogue, London Stained glass and cast bronze filigree 249 x 143 cm (entire window) 60 x 24 cm (each pane of 16)

19 Detail of the Chai windows The New North Western Reform Synagogue, London

14 Stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 272.25 x 46.5 cm 14 Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 14 Stained glass windows by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 272.25 x 46.5 cm (each) 14 Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 15 Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 15 Detail of stained glass window by Roman Halter and Aviva Halter‑Hurn New North London Synagogue Stained glass and cast and polished aluminium alloy 15 Stained glass window New North London Synagogue Stained glass and cast and polished aluminium alloy 272.25 x 46.5 cm

112 Roman Halter

19 Detail of the Chai windows The New North Western Reform Synagogue, London 19 Annotated study for stained glass Ink, gouache and acrylic on paper 42 x 13 cm 20 Stained glass windows (1-9) on the theme of “Chai” – Life (composite image) 1983-6 The North Western Reform Synagogue, London Stained glass and cast aluminium alloy Each window 338 x 44.5 cm (without wall spaces) 338 x 400.5 cm 22 Stained glass windows (1018) on the theme of “Chai” – Life (composite image) 1983-6 The North Western Reform Synagogue, London Stained glass and cast aluminium alloy Each window 338 x 44.5 cm (without wall spaces) 338 x 400.5 cm 24 Detail of the Chai windows The New North Western Reform Synagogue, London 25 Detail of the Chai windows The New North Western Reform Synagogue, London 26 Detail of “The Song of Songs” from the Chai windows The North Western Reform Synagogue, London 27 Detail of The Menorah window The New North Western Reform Synagogue, London

Page

Work

29 Children and Barbed Wire window 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 30 Bunkbed window, Yad LaYeled 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 31 Butterfly window 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 32 Girl with Handkerchief window 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 33 Chair and Table window 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 34 Flower window 1988-1994 Yad LaYeled, The Ghetto Fighters’ Museum, Israel Stained glass and cast bronze filigree 50 x 50 cm 35 Stained glass window 1984 Mill Hill United Synagogue, London Stained glass and cast aluminium alloy c. 130 x 60 35 Stained glass window 1984 Mill Hill United Synagogue, London Stained glass and cast aluminium alloy c. 130 x 60 36 Stained glass window 1997 Lady Sarah Cohen House, Friern Barnet, London Stained glass and cast aluminium alloy c. 180 x 230 cm 37 Stained glass window 1997 Lady Sarah Cohen House, Friern Barnet, London Stained glass and cast aluminium alloy c. 180 x 230 cm 39 Reclining figure 1986 Stained glass and cast aluminium alloy 121 x 182.9 x 16.5 cm Roman Halter after Henry Moore 40 Mother with Babies 1974 Oil on canvas 91 x 91 cm Imperial War Museum 41 Starved Faces 1974 Oil on canvas 91 x 91 cm Imperial War Museum

Page

Work

41 Man on Electrified Barbed Wire 1974 Oil on canvas 91 x 91 cm Imperial War Museum 41 Shlomo 1 1974 Oil on canvas 91 x 91 cm Imperial War Museum 42 Moses The Prophet 1974 Oil on canvas 91 x 91 cm Imperial War Museum 42 Transport 1974 Oil on canvas 91 x 91 cm Imperial War Museum 43 Woman Wearing Mantilla 1974 Oil on canvas 91 x 91 cm Imperial War Museum 43 Doña Isabel de Porcel Francisco de Goya before 1805 82 x 54.6 cm National Gallery, London 44 Fruits and Flowers of The Bible Central Synagogue, London Stained glass 249 x 143 cm (entire window) 60 x 24 cm (each pane of 16) 45 Untitled watercolour triptych, bottom titled Floods in Dorset Watercolour and ink on paper 4 x 9.5 cm; 4 x 9.5 cm; 4 x 9.5 cm 46 Dorset, 1.45am, Saturday April 2006 Watercolour and ink on paper 14.5 x 22 cm 48 Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper 16 x 16 cm cm Signed front bottom centre 49 Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper 16 x 16 cm 50 Cartoon for stained glass 2001 Gouache, acrylic and ink on mounted paper 17 x 15 cm Signed back 51 Cartoon for Stained Glass 2002 Gouache, acrylic and ink on mounted paper 16 x 16 cm Signed front bottom centre 52 Cartoon for Stained Glass 2001-2 Gouache, acrylic and ink on mounted paper 23 x 23, 16 x 16 cm Signed back 53 Cartoon for Stained Glass 2001-2 Gouache, acrylic and ink on mounted paper 16 x 16 cm 54 Cartoon for Stained Glass 2003 Gouache, acrylic and ink on mounted paper 16 x 16 cm

Page

Work

55 Cartoon for Stained Glass 2002 Gouache, acrylic and ink on mounted paper 16 x 16 cm 56 Cartoon for Stained Glass 2004 Gouache, acrylic and ink on mounted paper 16 x 16 cm 57 Cartoon for Stained Glass c. 2005-6 Gouache, acrylic and ink on mounted paper 16 x 16 cm Signed bottom centre 58 Cartoon for Stained Glass c. 2005 Gouache, acrylic and ink on mounted paper 16 x 16 cm Signed bottom right 59 Cartoon for Stained Glass 2006 Gouache, acrylic and ink on mounted paper 16 x 16 cm Signed on back 60 Death on the Death March, design for stained glass and cast aluminium and alloy 1978 Acrylic and gouache on paper 24.6 x 17.8 cm Signed bottom right 62 Perspective of Courtyard – Links between Bedroom/ Garage Unit Blocks sketch 1956 Ink and watercolour on card and cardboard 29.5 x 47 cm Signed bottom right 62 Children on Pavement Not dated Pencil and watercolour on paper 10 x 14.5 cm 63 Rooftops c.1958 Carbon, ink and watercolour on paper 29.5 x 47 cm signed bottom left 64 Two Female Figures c. 1950 Pencil, ink, watercolour and gouache on paper 28 x 24 cm Signed bottom right 64 Grandfather 1962-3 Oil on parquet wooden strips 23 x 7.5 signed bottom right 64 Grandmother 1962-3 Oil on parquet wooden strips 23 x 7.5 Signed bottom right 66 Studies for stained glass 2003 Gouache and acrylic on card 29 x 18 cm; 29 x 18 cm; 29 x 18 cm Signed bottom right 66 Studies for stained glass 2003 Gouache and acrylic on card 29 x 18 cm; 29 x 18 cm; 29 x 18 cm Signed bottom left 66 Studies for stained glass 2003 Gouache and acrylic on card 29 x 18 cm; 29 x 18 cm; 29 x 18 cm Signed bottom left

Page

Work

Page

Work

Page

Work

67 Couple 1979 Oil on canvas 91 x 91 cm Signed bottom right

76 Grandfather 1974 Acrylic on canvas 53.5 x 39.5 cm Signed bottom left

89 Untitled watercolour triptych Watercolour and ink on paper 4 x 9.5 cm; 4 x 9.5 cm; 4 x 9.5 cm Signed bottom left

68 Study for stained glass 1978-9 Oil on board 76 x76 cm

77 Tradition 1975 Lithograph from design for stained glass windows for The Leo Baeck School Synagogue, Haifa, Israel 24.6cm x 17.8 cm signed bottom right

90 Untitled small watercolour Watercolour and ink on paper 5 x 15 cm Signed bottom left

69 Mothers and Children Oil on canvas 91 x 91 cm Signed bottom part-right 70 Study for stained glass on board c.1958-60; 1998 Oil on board 102 x 50 cm Signed centre right 70 Study for stained glass on board c.1958-60; 1998 Oil on board 102 x 50 cm Signed bottom left 70 Study for stained glass on board c.1958-60; 1998 Oil on board 102 x 50 cm 70 Study for stained glass on board c.1958-60; 1998 Oil on board 102 x 50 cm Signed bottom part-right 71 Woman in Mantilla 1974 Oil on canvas 39 x 40 cm Signed bottom right 72 Shlomo Hanged 1974 Oil on canvas 80 x 80 cm Signed bottom right 73 Crucifixion of Christ – His Suffering 1975 Oil on canvas 14 x 13 cm Signed bottom left 74 The Prophet 1974 Oil on canvas 80 x 80 cm Signed bottom left 74 The Prophet Ink, gouache and acrylic on paper 30 x 29.5 cm Signed bottom right 75 Day of Liberation 1/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas 65 x 40 cm Signed on back 75 Day of Liberation 2/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas 65 x 40 cm Signed on back 75 Day of Liberation 3/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas 65 x 40 cm Signed on back 75 Day of Liberation 4/4 2005-6 Oil, acrylic and injected silicon gel on cotton canvas 65 x 40 cm Signed on back

78 The Cry c. 1996-7 Ink, gouache, acrylic on paper 29 x 29 cm Signed bottom right 78 De Profundis c. 1996-7 Ink, gouache and acrylic on paper 30 x 29.5 cm Signed bottom right 78 Mother cradling child c. 1996-7 Ink, gouache, acrylic on paper 29 x 29 cm Signed bottom left 78 Depth c. 1996-7 Ink, gouache and acrylic on paper 36 x 35 cm Signed bottom right 79 Grandfather and Grandson 1976 Indian ink on paper 39 x 27 cm Signed bottom centre 80 Self-portrait 2000 Oil, gouache and acrylic mounted on board 34 x 35.5 cm Signed part-bottom part-left 80 Family c. 2001-2 Oil on canvas 91 x 91 cm 81 Parents 2001-2 Oil on board 100 x 35 cm 81 Lovers 2001-2 Oil on board 91 x 35 cm 82 Parents 1991 Oil on canvas 91 x 91 cm Signed bottom centre 83 Man on Electrified Barbed Wire 2007-8 Acrylic on canvas 57 x 57 cm Signed on back, top right 86 Untitled watercolour triptych Watercolour and ink on paper 4 x 10 cm; 4 x 10 cm; 4 x 10 cm Signed top right 87 Untitled watercolour triptych 2011 Watercolour and ink on paper 4 x 9.5 cm; 4 x 9.5 cm; 4 x 9.5 cm Signed bottom 88 Untitled watercolour triptych Watercolour and ink on paper 4 x 9.5 cm; 4 x 9.5 cm; 4 x 9.5 cm Signed bottom left Bottom titled Floods in Dorset 2001 signed bottom right

Page

Work

96 Chodecz to Przedecz, 2.45am, Thursday 11 July Watercolour and ink on paper 19 x 28 cm 97 Village outside Chodecz, 12.30am, 8 November 2002 Watercolour and ink on paper 30 x 56.5 cm

90 Untitled small watercolour Watercolour and ink on paper 4 x 14 cm Signed bottom left

97 Treeless Landscape, 1.55am, 14 August 2004 Watercolour and ink on paper 19 x 28 cm Signed bottom left

91 Untitled small watercolour Watercolour and ink on paper 5 x 14.5 cm Signed bottom right

97 Saturday 5 Feb 2005 Watercolour and ink on paper 30 x 56.5 cm Signed bottom, part-left

91 Untitled medium watercolour Watercolour and ink on paper 6.5 x 19.5 cm Signed bottom right

97 Chodecz and Dorset, 6 April 2005 Watercolour and ink on paper 30 x 56.5 cm Signed bottom right

91 Untitled medium watercolour Watercolour and ink on paper 6.5 x 18 cm Signed bottom right 92 Untitled small watercolour Watercolour and ink on paper 5 x 14.5 cm 92 Untitled small watercolour Watercolour and ink on paper 4 x 14 cm Signed bottom left 92 Untitled small watercolour Watercolour and ink on paper 4 x 14 Signed bottom part right 93 Untitled small watercolour 2000 Watercolour and ink on paper 4 x 13 cm Signed bottom right 93 Untitled small watercolour Watercolour and ink on paper 4 x 14 cm Signed bottom right 93 Untitled small watercolour Watercolour and ink on paper 4 x 14 cm 94 Near Chodecz, 2.15am, 27 December 2000 Watercolour and ink on paper 19 x 28 cm Signed bottom right 94 Chodecz and Dorset Hills, 1.45am, Friday 26 October 2001 Watercolour and ink on paper 30 x 56.5 cm Signed bottom left 94 3pm, Sunday 23 September, Yom-Kippur Day Watercolour and ink on paper 30 x 56.5 cm Signed bottom left 95 2.45am, Sunday 14 April 2002 Watercolour and ink on paper 30 x 56.5 cm Signed bottom left 95 2.50am, 27 February 2002 Watercolour and ink on paper 20.5 x 28.5 cm Signed bottom left 95 Death March from Dresden, 1.10am, Tuesday 26 March 2002 Watercolour and ink on paper 20.5 x 28.5 cm Signed bottom left 96 Chodecz in Spring 1940, Thursday 11 April 2002 Watercolour and ink on paper 30 x 56.5 cm Signed bottom right

98 1.30am, Monday 30 2005 Watercolour and ink on paper 19 x 28 cm signed bottom right 98 Chodecz in Winter ‘39-’40, Saturday 30 July 2005 Watercolour and ink on paper 10 x 36 cm Signed bottom left 98 Wednesday 19 October 2005 Watercolour and ink on paper 20.5 x 28.5 cm Signed bottom right 99 1.50am, Sunday 30 October 2005 Watercolour and ink on paper 20.25 x 28.5 cm 99 Dorset, 1.45am, Saturday April 2006 Watercolour and ink on paper 14.5 x 22 cm Signed bottom right 99 Near Chodecz, 12.50am, Saturday 10 June 2006 Watercolour and ink on paper 14.5 x 22 cm Signed bottom left 100 Death March from Dresden, March 1945, 1.28am Monday 27 November 2006 Watercolour and ink on paper 19 x 28 cm Signed bottom right 100 Sand Pits Near Chodecz, 1.50am, Wednesday 26 March 2006 Watercolour and ink on paper 20.5 x 28.5 cm Signed bottom left 101 Chodecz and Dorset, Friday 18 July 2008 Watercolour and ink on paper 23 x 33 cm Signed bottom right 101 12.10am, Saturday 19 July 2008 Watercolour and ink on paper 20 x 28.5 cm Signed bottom part-right

Page

Work

105 Small chair Leo Baeck College, London Designed and made by Roman Halter Oak veneer ply 119.5 x 52.5 x 53.5 cm Small cushion Designed by Roman Halter 45 x 49 105 Large chair Leo Baeck College, London Designed and made by Roman Halter Oak veneer ply 123.25 x 58.5 x 56.5 cm Large cushion Designed by Roman Halter 52 x 53 106 Torah Reading Table 1985-6 Leo Baeck College, London 95 x 111.5 x 76.5 cm 106 Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Each square: 30 x 30 cm Designed by Roman Halter and Aviva Halter-Hurn 106 Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Each square: 30 x 30 cm Designed by Roman Halter and Aviva Halter-Hurn 107 Stained glass window frame 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy Each square: 30 x 30 cm Designed by Roman Halter and Aviva Halter-Hurn 107 Detail of stained glass window frame Leo Baeck College, London 108 Royal Coat of Arms Metalwork (cast filigree) 58 x 58 cm 108 Royal Coat of Arms Metalwork (cast filigree) 80 x 82 cm 109 Main gate 1975 Yad Vashem, the Holocaust Martyrs’ and Heroes’ Remembrance Authority, Jerusalem, Israel Concrete and cast aluminium alloy 110 Outside Zchor Leo Baeck College, London Cast and polished aluminium alloy

Dimensions: unframed, height x width

104 Spring Trees Watercolour and ink on paper 7 x 11 cm 104 Ark 1985-6 Leo Baeck College, London Stained glass and cast and polished aluminium alloy, with oak veneer ply 234 X 110 X 65.25 cm

Roman Halter 113

Short history and mission statement Ben Uri, ‘The Art Museum for Everyone,’ focuses distinctively on Art, Identity and Migration across all migrant communities to London since the turn of the 20th century. It engages the broadest possible audience through its exhibitions and learning programmes. The museum was founded on 1 July 1915 by the Russian émigré artist Lazar Berson at Gradel’s Restaurant, Whitechapel, in London’s East End. The name, ‘The Jewish National Decorative Art Association (London), “Ben Ouri”’, echoed that of legendary biblical craftsman Bezalel Ben Uri, the creator of the tabernacle in the Temple of Jerusalem. It also reflects a kinship with the ideals of the famous Bezalel School of Arts and Crafts founded in Jerusalem nine years earlier in 1906. Ben Uri’s philosophy is based on our conviction that, by fostering easy access to art and creativity at every level, it can add weight to our two guiding principles:‘The Dignity of Difference’ and ‘The Equality of Citizenship’. Ben Uri connects with over 300,000 people a year via its various creative platforms. The museum positively and imaginatively demonstrates its value as a robust and unique bridge between the cultural, religious, political differences and beliefs of fellow British citizens.

Temporary Exhibitions: Curating, touring and hosting important internationally-focused exhibitions of the widest artistic appeal which, without the museum’s focus, would not be seen in the UK or abroad. Publications: Commissioning new academic research on artists and their historical context to enhance the museum’s exhibitions and visitor experience. Library and Archive: A resource dating from the turn of the 20th century, documenting and tracing in parallel the artistic and social development of both Ben Uri and Jewish artists, who were working or exhibiting in Britain, as part of the evolving British historical landscape. Education and Community Learning: For adults and students through symposia, lectures, curatorial tours and publications. Schools: Ben Uri’s nationally available ‘Art in the Open’ programme via the ‘National Education Network’ and The London Grid for Learning’ is available on demand to 25,000 schools across the United Kingdom. Focus-related visits, after-school art clubs, family art days and competitions are also regular features. Artists: Regular artists’ peer group programmes, competitions, guidance and affiliation benefits.

Our positioning of migrant artists from different communities in London within the artistic and historical, rather than religious or ethnic, context of the British national heritage is both key and distinctive.

Care in the Community: Pioneering project exploiting the many diverse facets of the visual arts as a component part of addressing the relevant needs of the elderly and in particular those caring for individuals with or themselves living with the early stages of dementia.

Through the generous support of our ‘Preferred Partner’ Manya Igel Fine Arts, we provide Free Entry to all our exhibitions, removing all barriers to entry and participation.

Website: Provides an online educational and access tool, to function as a virtual gallery and artists’ reference resource for students, scholars and collectors.

Ben Uri offers the widest access to all its programming and resources via physical and virtual access including through publications, our website and outreach, as follows:

Social Media: Engaging audiences worldwide through Facebook, Twitter and others which will follow.

The Permanent Collection: Comprising 1,300 works, the collection is dominated by the work of first and second generation émigré artists and supported by a growing group of emerging contemporary artists, who will be a principal attraction in the generations to come. The largest collection of its kind in the world, it can be accessed physically or virtually via continued exhibition, research, conservation and acquisitions.

Future: The strength of the museum’s growing collection and our active engagement with our public – nationally and internationally – reinforces the need for Ben Uri to have a permanent museum and gallery in the heart of Central London alongside this country’s great national institutions. Only then will the museum fulfil its potential and impact the largest audiences from the widest communities from home and abroad.

A R T I D E N T I T Y M I G R A T I O N 114 Roman Halter

Ben Uri Patrons Clare Amsel

H. W. Fisher and Company

Jewish Memorial Council

Lélia Pissarro and David Stern

Annely Juda Fine Art

Wendy Fisher

Sandra and John Joseph

Ingrid and Mike Posen

Gretha Arwas

The Foyle Foundation

Neil Kitchener QC

Simon Posen

Pauline and Daniel Auerbach

Patsy and David Franks

Hannah and David Latchman

Janis and Barry Prince

Esther and Simon Bentley

Franklin Family

Agnes and Edward Lee

Reed Smith LLP

Blick Rothenberg

Barbara and David Glass

Miriam and Richard Borchard

Lady Hannah and Lord Parry Mitchell

Ashley Rogoff

Sue and David Glasser

Brandler Galleries, Brentwood

Lindy and Geoffrey Goldkorn

Robin and Edward Milstein

Barry Cann

Goldmark Gallery, Rutland

Jayne Cohen and Howard Spiegler

Madelaine and Craig Gottlieb

Montgomery Gallery, San Francisco

Marion and David Cohen

Tresnia and Gideon Harbour

Sheila and Dennis Cohen Charitable Trust

Mym and Lawrence Harding

Nikki and Mel Corin Suzanne and Henry Davis Rachel and Mike Dickson Peter Dineley Sir Harry and Lady Djanogly Marion and Manfred Durst The Fidelio Charitable Trust

Anthony Rosenfelder Shoresh Charitable Trust Ann Susman

Hanno D Mott

Jonathan Symons

Diana and Allan Morgenthau

Esther and Romie Tager

MutualArt.com

Myra Waiman

Peter Held

Olesia and Leonid Nevzlin

Judit and George Weisz

Sir Michael and Lady Heller

Susan and Leo Noé

Eva and David Wertheim

Joan Hurst

Opera Gallery, London

Cathy Wills

Beverly and Tony Jackson

Osborne Samuel Gallery, London

The Maurice Wohl Charitable Foundation

Susan and Martin Paisner

Alma and Leslie Wolfson

Shoshana and Benjamin Perl

Sylvie and Saul Woodrow

Louis Perlman

Matt Yeoman

Averil and Irving Grose

Laura and Lewis Kruger Manya Igel Fine Arts Jacob Mendelson Scholarship Trust

Ben Uri International Advisory Board UK Dr. Brian Allen, Hazlitt Group Dr. Shulamith Behr, Courtauld Dr. Richard Cork, Art Historian Gill Hedley, Curator Norman Lebrecht, Writer Prof Griselda Pollock, Scholar Dr. Andrew Renton, Gallerist Sir Norman Rosenthal, Curator Sir Nicholas Serota Brian Sewell, Critic Dr. Evelyn Silber, Historian Peyton Skipworth, Writer

ISRAEL Prof Ziva Amishai-Maisels, Scholar Shlomit Steinberg, Curator

EUROPE Joel Cahan, Director Dr Eckhart Gillen, Curator Dr Leo Paviat, Director Dr Danielle Spera, Director Edward van Voolen, Curator

NORTH AMERICA Prof Bruce Boucher, Director Tom L Freudenheim, Writer Derek Gillman, Director Prof Sander Gilman, Scholar Susan T Goodman, Curator Daniel Libeskind, Architect Prof Jack Lohman, Director

Roman Halter 115

thank the

for their generous support for this publication