Lot Essay
A lignum vitae carving of this sculpture was exhibited: Glasgow, McLellan Galleries, Festival of Jewish Arts, 1951, no. 111. Haifa, Municipal Museum of Modern Art and Jerusalem, Bezalel National Museum, Benno Schotz Sculptures, 1955, no. 3. Edinburgh, Royal Scottish Academy, Annual Exhibition, 1962, no. 39. Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 48. (illustrated).
According to the artist's notes he conceived and executed this work during the darkest years of the extermination of European Jews. He modelled the figure as a personal expression of faith that help will ultimately come. The female figure stands in silent prayer and supplication, head lifted up to heaven, the ears turned out on to the raised shoulder's, the quicker to hear the approach of deliverance, the hair like useless broken wings, and hands pressed tight against her side to still her anguish.
According to the artist's notes he conceived and executed this work during the darkest years of the extermination of European Jews. He modelled the figure as a personal expression of faith that help will ultimately come. The female figure stands in silent prayer and supplication, head lifted up to heaven, the ears turned out on to the raised shoulder's, the quicker to hear the approach of deliverance, the hair like useless broken wings, and hands pressed tight against her side to still her anguish.