Benjamin Kopman Paintings & Artwork for Sale | Benjamin Kopman Art Value Price Guide

Jul. 10, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Batness , lithograph, 17 7/8"H x 13 1/8"W (sheet)
Est: $40 - $60
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Batness lithograph Pencil signed and dated lower right. Titled and numbered 20/40 lower left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 10, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), At the Opera, 1938 (Humanity series) , lithograph, 12 3/4"H x 9 3/4"W
Est: $40 - $60
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) At the Opera, 1938 (Humanity series) lithograph Unsigned. Damage to upper right corner. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 10, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Country House, 1954 , gouache on poster board, 18"H x 24 1/4"W
Est: $40 - $60
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Country House, 1954 gouache on poster board Signed and dated lower left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 10, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Blue Man , gouache on paper, 12"H x 9"W
Est: $40 - $60
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Blue Man gouache on paper Signed upper left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 10, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Bird of Prey, 1964, lithograph, 13 1/8"H x 17 7/8"W (sheet)
Est: $40 - $60
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Bird of Prey, 1964 lithograph Pencil signed and dated lower right. Titled and numbered 20/40 lower left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 09, 2024
Benjamin Kopman Seated Man Watercolor on Paper
Est: $300 - $500
Benjamin Kopman (Russian/American, born Belarus, 1887-1965), Seated Man in an Interior, Watercolor on Paper, signed upper right. Image: 3.5" H x 4.75" W; frame: 10.5" H x 12.5" W. Provenance: From a New York City Collection. Keywords: Painting, 20th Century Art, Interior Scene, Works on Paper
Auctions at Showplace
Jun. 28, 2024
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $500 - $600
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; Self-portrait ; mid 20th century ; watercolor on paper / framed ; dimensions 35 x 27 cm (13 3/4 x 10 2/3 in.) / frame size 65 x 57 cm (25 1/2 x 22 1/2) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to Europe, Russia, Middle Assia - DHL - $150 , National post with tracking service - $65
Art-Torg
May. 23, 2024
Benjamin Kopman
Est: $200 - $400
(Russian/America, 1887-1966) Girl, signed "Kopman" in lower left corner, oil on canvas, 24 x 20 in.; unframed Provenance: Maria and Conrad Janis Estate; Property sold to benefit the American Folk Art Museum
Brunk Auctions
May. 09, 2024
Benjamin Kopman
Est: $500 - $700
(Russian/America, 1887-1966) A Horse, 1929, signed "B. Kopman" lower left, titled, dated, and signed verso, oil on canvas, 24 x 20 in.; painted wood frame, 28-1/8 x 23-7/8 in. Provenance: Maria and Conrad Janis Estate; Property sold to benefit the American Folk Art Museum
Brunk Auctions
Mar. 30, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), At the Zoo, 1960, pastel, watercolor, and graphite on paper, 5 1/4"H x 7"W
Est: $100 - $200
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) At the Zoo, 1960 pastel, watercolor, and graphite on paper Signed and dated upper right. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Mar. 30, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Reading Man, 1959, gouache on poster board, 14 3/4"H x 12 1/8"W
Est: $120 - $250
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Reading Man, 1959 gouache on poster board Signed and dated lower left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Mar. 30, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Backstage , pastel on poster board, 1958, 13 1/4"H x 10 3/4"W
Est: $200 - $300
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Backstage pastel on poster board, 1958 Signed and dated lower right. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Mar. 30, 2024
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Combing the Mistress' Hair, pastel on paper, 15 1/8"H x 11 3/4"W
Est: $200 - $300
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Combing the Mistress' Hair pastel on paper Signed upper left. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Mar. 17, 2024
A BENJAMIN KOPMAN OIL ON CANVAS PAINTING OF INDUSTRIAL LANDSCAPE
Est: $500 - $700
Benjamin D. Kopman (1887 - 1965), oil on canvas painting depicting a modernist industrial landscape with the view of New York City in the distance. The painting is distinguished by a carefully balanced composition and a rich palette of colors, emphasizing expressive, confident brush strokes. Signed by the artist lower left. In untouched original condition with original frame. Note: Benjamin Kopman was a painter and printmaker born in Vitebsk, Russia, and emigrated to the United States with his family in 1903. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. His first major exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914, followed by several others during the 1920s. Kopman worked for the WPA as an artist during the Depression and had solo exhibitions in the late 1930s and 1940s. His paintings and prints are distinctive for their primitive character and their use of heavy black outlines that suggest the influence of Rousseau and Roualt. Kopman’s work is held in the collections of many institutions including the Whitney Museum of American Art, the Museum of Modern Art, the Brooklyn Museum, the Metropolitan Museum of Art, and the Pennsylvania Academy of Fine Arts.
Helios Auctions
Mar. 05, 2024
The Ruin
Est: $1,500 - $2,500
Property of The Museum of Modern Art, New York, Sold to Benefit its Acquisitions Program Benjamin Kopman 1887 - 1965 The Ruin signed B. Kopman (lower left) oil on canvas 25 ⅝ by 36 ⅜ in. 65.2 by 92.4 cm. Executed in 1930.
Sotheby's
Feb. 27, 2024
Benjamin D. Kopman, 1887-1965 (Belarus/USA)
Est: £1,000 - £2,000
Benjamin D. Kopman (1887-1965). Clown, 1929. Oil on canvas, size 110 x 75 cm (43 1/3 x 29 1/2 inches). Frame dimensions 121 x 86 cm (47 2/3 x 33 3/4 inches). Signed and dated lower right. Exhibition labels on verso. J.B. NEUMANN Collection (New York).
Cultural Traditions
Feb. 16, 2024
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $800 - $1,200
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; mid 20th century ; oil on canvas / unframed ; dimensions 74 x 60 cm (29 x 23 2/3 in.) ; signed lower left corner ; Shipping to USA - DHL $320 , National post with tracking service $170 / Shipping to Europe, Russia, Middle Assia - DHL $220 , National post with tracking service $100
Art-Torg
Feb. 16, 2024
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $600 - $800
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; Self-Portrait ; mid 20th century ; colored ink on paper / framed ; dimensions 40 x 30 cm (15 3/4 x 12 in.) ; frame size 60 x 50 cm (23 2/3 x 19 2/3 in.) ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
Art-Torg
Feb. 03, 2024
Benjamin Kopman (USA 1887-1965) Hand Colored Litho
Est: $50 - $100
Benjamin D. Kopman (RUSSIAN / UNITED STATES / NEW YORK / NEW JERSEY, 1887 - 1965) hand colored lithograph depicting the potrait of a man with with black hat holding a book. Initialed in the plate to upper right and dated 1964. Hand pencil signed to lower right and dated 1964. Pencil titled "Scholar"; numbered 40/38 and denoted "Hand Colored 17th Set" to lower left. Mounted in a gold painted wooden frame with mat behind glass screen. Paper measures approx. 13 5/8" height x 11" width to sight. Measures approx. 20 3/8" height x 17 3/4" width overall including frame. Some minor nicking to frame. JD/B15/SH:9A
Joshua Kodner
Nov. 12, 2023
BENJAMIN KOPMAN (RUSSIAN / AMERICAN, 1887-1965).
Est: $600 - $900
Landscape with homes. Oil on canvas. From a Larchmont, NY collection.
Clarke Auction Gallery
Nov. 12, 2023
BENJAMIN KOPMAN (RUSSIAN / AMERICAN, 1887-1965).
Est: $1,000 - $1,500
'Early Autumn'. Oil on canvas. Signed lower right. Titled verso. From a Larchmont, NY collection.
Clarke Auction Gallery
Oct. 06, 2023
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $500 - $600
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; Self-portrait ; mid 20th century ; watercolor on paper / framed ; dimensions 35 x 27 cm (13 3/4 x 10 2/3 in.) / frame size 65 x 57 cm (25 1/2 x 22 1/2) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to Europe, Russia, Middle Assia - DHL - $150 , National post with tracking service - $65
Art-Torg
Sep. 14, 2023
Benjamin Kopman Gouache on Paper Portrait
Est: $100 - $200
Benjamin Kopman (Russia / American, 1887-1965). Gouache on paper, portrait of a seated woman. Signed lower right. 8 5/8" x 9" (with frame 16 1/4" x 19 1/4"). Paint loss to arms, collar and body of figure; some discoloration to mat.
Willow Auction House
Sep. 14, 2023
Benjamin Kopman Gouache on Board Winter Landscape
Est: $400 - $600
Benjamin Kopman (Russia / American, 1887-1965). Gouache on board, houses in winter landscape. Signed and dated 45 lower right below the mat. 14" x 18 3/4" (with frame 19 5/8" x 23 3/8"). Pinholes and losses to paint along all four sides; chips and losses to frame. Provenance: Sotheby's, New York, January 24, 1997; private collection, New York City.
Willow Auction House
Sep. 14, 2023
Benjamin Kopman Lithograph and Ink & Wash
Est: $100 - $200
Benjamin Kopman (Russia / American, 1887-1965). 2 piece art lot. Hand colored lithograph, Bather, pencil signed, dated 64, titled and numbered 40/9 hand colored # 17 in the lower margin and initialed and dated in the plate lower right, 14" x 11" (with frame 21 7/8" x 17 5/8"); Ink and wash of a nude, with text from Keats's Endymion, unsigned, attributed to Kopman, with Rosenfeld Gallery Tel Aviv label on verso, 12 1/2" x 9 3/4" (with frame 18 1/8" x 14 1/4").
Willow Auction House
Jul. 18, 2023
Benjamin D. Kopman (1887 - 1965) Watercolor
Est: $300 - $500
8 1/2" x 11" signed lower right and dated 1958.
Weiss Auctions
Jul. 15, 2023
Benjamin Kopman
Est: $600 - $800
(Russian/America, 1887-1966) Street Scene, 1946, signed and dated lower left "Kopman '46", oil on canvas, 20-3/4 x 27 in.; 28-1/4 x 34-1/2 in. Provenance: Dave and Chris Knoke, Marietta, Georgia
Brunk Auctions
Jul. 15, 2023
Benjamin Kopman
Est: $600 - $800
(Russian/America, 1887-1966) Still Life with Orange, signed lower right "Kopman", oil on canvas, 21 x 25 in.; wood frame, 30 x 34 in. Provenance: Dave and Chris Knoke, Marietta, Georgia
Brunk Auctions
Jul. 13, 2023
Benjamin Kopman Lithograph and Ink & Wash
Est: $200 - $300
Benjamin Kopman (Russia / American, 1887-1965). 2 piece art lot. Hand colored lithograph, Bather, pencil signed, dated 64, titled and numbered 40/9 hand colored # 17 in the lower margin and initialed and dated in the plate lower right, 14" x 11" (with frame 21 7/8" x 17 5/8"); Ink and wash of a nude, with text from Keats's Endymion, unsigned, attributed to Kopman, with Rosenfeld Gallery Tel Aviv label on verso, 12 1/2" x 9 3/4" (with frame 18 1/8" x 14 1/4").
Willow Auction House
Jul. 01, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887 - 1965), The Judge, portrait of a man, oil on canvas, 35 3/4"H x 25 1/8"W (sight), 46 1/2"H x 36"W (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887 - 1965) The Judge, portrait of a man oil on canvas Signed upper right. Provenance: Collection of Helene S. Thompson Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 01, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), Female Portrait, oil on canvas, 23 1/2" x 19 1/2" (sight), 30" x 25" (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) Female Portrait oil on canvas Signed lower left and verso. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jul. 01, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), male portrait, 1949, oil on canvas, 23 7/8"H x 17 1/2"W (sight), 27"H x 21 1/8"W (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) male portrait, 1949 oil on canvas Signed upper left, signed and dated verso. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Jun. 09, 2023
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $800 - $1,200
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; mid 20th century ; oil on canvas / unframed ; dimensions 74 x 60 cm (29 x 23 2/3 in.) ; signed lower left corner ; Shipping to USA - DHL $320 , National post with tracking service $170 / Shipping to Europe, Russia, Middle Assia - DHL $220 , National post with tracking service $100
Art-Torg
Jun. 09, 2023
B. KOPMAN (1887-1965) Russian - Belorussian - American
Est: $600 - $800
Benjamin D. KOPMAN (1887 Vitebsk, Belorussia -1965 Teaneck, NY) ; Self-Portrait ; mid 20th century ; colored ink on paper / framed ; dimensions 40 x 30 cm (15 3/4 x 12 in.) ; frame size 60 x 50 cm (23 2/3 x 19 2/3 in.) ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
Art-Torg
May. 21, 2023
Benjamin Kopman - Man Playing a Piano
Est: $200 - $400
A Benjamin Kopman (1887-1965) painted ceramic tile titled 'Man Playing a Piano'. Signed and dated. 9.25 x 6. Measurements are in inches. (Height x Width x Depth)
Barton's Auction
May. 20, 2023
Benjamin Kopman (Am./Russian 1887-1965), "Looking at a Picture", Gouache on paper, matted
Est: $200 - $400
Benjamin Kopman Am./Russian (1887-1965) "Looking at a Picture" Gouache on paper, matted Signed l.l., The Milch Galleries label verso 23 1/2" x 18 1/2" sight, 31 1/2" x 26 1/2" matted
Barridoff Auctions
Apr. 29, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887 - 1965), Portrait of a Clown with pet, 1929, oil on canvas, 43 1/4"H x 29"W (sight), 47 3/4"H x 33 5/8"W (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887 - 1965) Portrait of a Clown with pet, 1929 oil on canvas Signed and dated lower right. Provenance: Collection J. B. Neumann, NY Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Apr. 29, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887 - 1965), The Judge, portrait of a man, oil on canvas, 35 3/4"H x 25 1/8"W (sight), 46 1/2"H x 36"W (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887 - 1965) The Judge, portrait of a man oil on canvas Signed upper right. Provenance: Collection of Helene S. Thompson Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Apr. 29, 2023
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887-1965), male portrait, 1949, oil on canvas, 23 7/8"H x 17 1/2"W (sight), 27"H x 21 1/8"W (frame)
Est: $300 - $500
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887-1965) male portrait, 1949 oil on canvas Signed upper left, signed and dated verso. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Mar. 15, 2023
Benjamin D. Kopman (Russian/American, 1887-1965) Farmers at Rest 30 x 36 in. (76.2 x 91.5 cm) framed 33 1/2 x 39 1/2 x 2 1/2 in.
Est: $1,500 - $2,000
Benjamin D. Kopman (Russian/American, 1887-1965) Farmers at Rest signed 'B. Kopman' (lower left) oil on canvas 30 x 36 in. (76.2 x 91.5 cm) framed 33 1/2 x 39 1/2 x 2 1/2 in.
Bonhams
Feb. 19, 2023
BENJAMIN KOPMAN (AMERICAN, 1887-1965).
Est: $600 - $900
Card Players. Large oil on panel. 1944. Signed and dated lower left. In a Heydenryk frame. From a Larchmont, NY estate.
Clarke Auction Gallery
Dec. 17, 2022
Benjamin D. Kopman, New York, New Jersey / Russian Federation (1887 - 1965), Portrait of a Chasid Youth, 1930, oil on canvas, 36"H x 28 1/8"W (sight), 37 3/8"H x 29 1/2"W (frame)
Est: $300 - $400
Benjamin D. Kopman New York, New Jersey / Russian Federation, (1887 - 1965) Portrait of a Chasid Youth, 1930 oil on canvas signed and dated lower left. Spatter marks mainly to right half of painting. Stretcher mark along upper edge. Scratch lower right and other abrasions throughout. Biography from the Archives of askART: Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Dec. 17, 2022
Benjamin Kopman, New York, New Jersey / Russian Federation. (1887-1966), Self Portrait, 1964, watercolor wash on paper, 12 3/4" x 9 5/8", 15 5/8" x 12 5/8" (frame)
Est: $100 - $200
Benjamin Kopman New York, New Jersey / Russian Federation., (1887-1966) Self Portrait, 1964 watercolor wash on paper EX: Friends of Bezalel Academy of Arts and Design, Inc, NY Biography from the Archives of askART: Benjamin Kopman (1887-1966) Vitebsk, the birth place of Benjamin Kopman, was one of the largest Jewish communities in Europe in 1900 with a Jewish population of 34,420. It was a center of religious Judaism with a strong Habad presence, but also had a very active Zionist community. Unlike many Russian communities, Vitebsk did not experience pogroms around the turn of the 20th century. Thus, when 16 year old Benjamin Kopman and his family emigrated to the United States in 1903, it was likely for economic gain rather than religious freedom. In New York Kopman was tutored by Abel Pan, who had studied at the Yehdua Penn's Vitebsk Academy. In 1905 Kopman enrolled at the National Academy of Art where he remained for 6 semesters. In 1913 Kopman became a US citizen and he lived on East 14th Street in Manhattan during and after WWI. His first prestigious exhibition was at the annual exhibition of the Pennsylvania Academy of Fine Arts in 1914. "Kopman participated in exhibitions sponsored by the People's Art Guild from 1915 to 1917 held at settlement houses and neighborhood centers in Manhattan and the Bronx… He also exhibited with Jennings Tofel and Claude Buck as part of the Introspective group of painters… In 1925 Kopman and Tofel founded the Jewish Art center which held exhibitions for two seasons in the East Village."[1] Kopman worked for the WPA as an artist during the Depression. He enjoyed solo exhibitions at the New Art Circle in 1937, ACA Galleries in 1945, Phillips Memorial gallery in Washington D.C. in the same year, and several others venues in future years. Kopman most likely had a Jewish education in Vitebsk, as "his intense mysticism and emotionality have their source in the Kabbalah."[1] In his use of heavy black outlines and often primitive style Kopman suggest the influence of Henri Rousseau and Georges Roualt. Critic, Henry McBride, commented in a review of Kopman's work s at the Carnegie Institute, "I'd rather have Mr. Kopman's picture any day than the work by Roualt in the neighboring French room."[7] A recurrent theme in exhibitions and from Kopman himself is the contradiction between Kopman's outstanding skills and relatively limited recognition. "But in the annals of painting, the case of Benjamin Kopman is probably unique. Three times in his long career - in the Thirties - in the Forties and in the Fifties - he has been hailed by discriminating critics as a painter of major dimensions… Why, then, did he not achieve the popularity he deserves?"[7] Selden Rodman concludes that Kopman was a retiring individual who did not promote himself. Even in 1941 this same characterization was apt. "Shy and retiring by nature he shuns the outer world, spending sixteen to twenty hours of the day painting or writing verse [in Yiddish]… His long years of toil have yielded little more than the barest necessities."[8] In 1958 Kopman himself wrote, in an apparent defense against abstract expressionism, "Because we live in an age of speed, some people who never cared for art turned away from my work using the excuse that it has not moved fast enough. They do not realize that the very speed they so admire will fly by them, and they will remain wondering what has happened."[9] Kopman married his wife, Feiga, around 1927. She was the sister of fellow artist and Introspective member, Claude Buck. In 1930 they were living at 207 East 19th Street in Manhattan with no children. Both Benjamin and Feiga are described as "artists" in census data. Feiga died in 1964. Kopman's work is held in the collections of the Whitney Museum of American Art, Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, Pennsylvania Academy of Fine Arts, and many others.
Ripley Auctions
Dec. 17, 2022
Benjamin D Kopman, Russian, American (1887-1965), Clown, Oil on canvas, 30" x 25 1/4", 37 1/4" x 32 1/4" (frame)
Est: $300 - $500
Benjamin D Kopman Russian, American, (1887-1965) Clown Oil on canvas Signed lower left. Biography from the Archives of askART: Jewish-American artist, Benjamin Kopman was born in Russia and came to the U.S. in 1903 where he studied at the National Academy of Design. He was a painter, illustrator, and sculptor and exhibited widely including the Pennsylvania Academy, the Corcoran Gallery, and the Salons of America. His illustration work included the novels "Crime and Punishment" in 1944 and "Frankenstein" in 1948. His work is in the collections of the Whitney Museum, Museum of Modern Art, Boston Museum, and the Pennsylvania Academy of Fine Art. Kopman became a well-known "American Scene" artist. He was also part of the WPA project in the US. Source: T P LaRose Peter Falk, "Who Was Who in American Art"
Ripley Auctions
Dec. 17, 2022
Benjamin D Kopman, Russian, American (1887-1965), The Circus, Oil on canvas, 27 1/2" x 35 1/2", 34" x 42" (frame)
Est: $300 - $500
Benjamin D Kopman Russian, American, (1887-1965) The Circus Oil on canvas Signed and dated (1957) lower right. Biography from the Archives of askART: Jewish-American artist, Benjamin Kopman was born in Russia and came to the U.S. in 1903 where he studied at the National Academy of Design. He was a painter, illustrator, and sculptor and exhibited widely including the Pennsylvania Academy, the Corcoran Gallery, and the Salons of America. His illustration work included the novels "Crime and Punishment" in 1944 and "Frankenstein" in 1948. His work is in the collections of the Whitney Museum, Museum of Modern Art, Boston Museum, and the Pennsylvania Academy of Fine Art. Kopman became a well-known "American Scene" artist. He was also part of the WPA project in the US. Signed and dated (1957) lower right. Source: T P LaRose Peter Falk, "Who Was Who in American Art"
Ripley Auctions
Dec. 07, 2022
Benjamin Kopman (1887-1965): Man Playing a Piano; and Street in Far Rockaway
Est: $800 - $1,200
Painted ceramic tile, 1953, signed 'Kopman' and dated lower left; and Street in Far Rockaway, watercolor and gouache on paper, signed 'Kopman' lower left, with label from A.C.A. Gallery, NY. 9 1/8 x 6 in., 15 1/4 x 12 1/4 in. (frame), 4 3/4 x 7 1/2 in. (sheet). Property from the Estate of Ernest Kafka
STAIR
Nov. 30, 2022
Benjamin Kopman 1887-1965 Working Woman Painting
Est: $100 - $1,000
Benjamin Kopman (Russian American, 1887-1965). An original gouache portrait painting on canvas. Titled, "Working Woman," produced 1945. A figurative work painted with a seated female figure. Artist signature and dated to upper left KOPMAN 1945. Vintage paper affixed to verso with artist and work information. Presented with a fabric border in a decorative frame. Work Size: 37 x 31 in. Dimensions: 45 X 39 X 2 in. Condition: Good overall condition, having normal surface wear. Frame having moderate wear at edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at HillAuctionGallery.com
Hill Auction Gallery
Oct. 28, 2022
BENJAMIN KOPMAN MODERN "PORTRAIT STUDY" GOUACHE
Est: $200 - $400
Benjamin D. Kopman (American / Russian Federation 1887-1965). "Portrait Study", gouache on paper, front facing portrait, signed to upper left, framed. Approx. sight h. 8", w. 6.25". Frame 15.25", w. 11.25".
Ahlers & Ogletree Inc.