Serge Ivanhoff Nude at her Dressing Table. Conte Crayon Drawing signed and dated Paris 1945. image 9"x12".
Serge Petrovitch Ivanoff was born in Moscow in 1893 and showed artistic ability from a young age. On the family’s move to St. Petersburg, he took the opportunity to further his artistic studies by enrolling at the Imperial Academy of Arts in 1917, at the height of the Russian Revolution. The turmoil of the aftermath of these events prompted Serge Ivanoff, with his wife and two young children, to move permanently to Paris in 1922. A talented portraitist, he quickly established himself in Paris and soon had the celebrities of the day commissioning him to paint their portraits, including Pope Pius XI, the dancer and choreographer Serge Lifar, poet Paul Valery, composer Arthur Honegger, and many notable Russian exiles now making their home in Paris. Between 1930 and 1950, he also regularly provided illustrations for the French journal L’Illustration, and painted a series of luminous and lyrical nudes. In 1950 Serge Ivanoff moved to the U.S.A., again specialising in portraiture, including Eleanor Roosevelt and the diplomat Jefferson Caffery amongst his subjects. However, by the 1960s he had returned to Paris where he continued to exhibit regularly at the Salon des Indépendants, receiving a Gold Medal from the Minister of Cultural Affairs, André Malraux, in 1966. Serge Ivanoff died in Paris in 1983.
Original vintage oil on panel of the famed world cup sailing yacht the Intrepid depicted in full sail. Signed lower right and dated Stoehr 1975. Image 21"L x 27"W Matted and Framed. Intrepid is a 12-metre class yacht which won the America's Cup in 1967 and again in 1970.
Oil on paper abstract composition by Harold Christopher Davies, signed lower right. From the estate of the artist and the Hoover Gallery, San Francisco. Davies' work was exhibited at the San Francisco Art Association, the Oakland Art Gallery, the Birmingham Museum, the Southampton Museum, the University of Long Island Museum, the Parrish Art Museum, the Hoover Gallery (San Francisco), the Haggin Museum and the Huntsville Museum. Image, 22"W x 18"H. Overall framed size
33" W x 27" H.
One of the rarest colors ever on an American Standard Stratocaster "Razz Berry", which made its only appearance in the Oct 1 88 price list, and was dropped by the time the '89 price list was printed. Also noteworthy, this finish wasn't available on the American Standard Strat, only the "Plus" model, but was fairly common on the HM Strat from this era. The Plus model first appeared in 1987, within a year of the first American Standards, the earliest was Nov '86. Many people incorrectly identify these as 1984 models due to the "E4xxxxx" serial numbers. The fact is, the only American Strats being produced in '84, '85, and most of '86 were the USA Vintage Series, which had the serial number on the neck plate. Any "E4" serial number you come across is an late '86 at best, but most are '87 and '88, and even a few '89's. The Plus was a souped up American Standard, with an $849 retail price that was $200 higher. It has a bunch of upgraded parts, most notably a trio of gold Lace Sensor pickups, which produce almost no hum and are non-magnetic which means no magnetic string pull and, thus, longer sustain. Another innovation is the TBX (Tone Bass Expander) control for the middle/neck pickups which looks like a regular tone knob but underneath the guard it's a stacked pot - with a center detent, it works like a tone control from "5" to "1", and TBX from "6" to "10". You'll notice the headstock which has the bold silver logo of the era but...no string trees, which aren't necessary due to the staggered height Sperzel tuners. The Sperzels are excellent tuners and unlike vintage tuners you don't need to wrap the string around the tree. Just insert the string through the tuner post and cut it as close as you want - once you screw down the back it's locked into place and usually tunes to pitch in around 1/4th revolution of the post. Another innovative feature is the "tilt adjust" neck, in use since the early 70's, with access through the neck plate. With an Allen wrench you can adjust the neck angle; a great improvement removing the neck repeatedly until you find a shim with the perfect thickness. In place of the stock nut this model used an Wilkinson roller nut (later models used an LSR with bearings) which reduces friction over the nut and helps maintain tuning stability. This model is outfitted with the Schaller locking strap pins, which made their debut with the '83 Strat Elite. Although not used in 1988, later models also included a "Tremsetter" inside the trem cavity, which is a spring-loaded device that prevents de-tuning if you break a string. About this guitar: Extremely clean - a true closet classic that looks like it was played for a month or two and then put away. The frets are as clean as the day they left the factory. There are no buckle scratches and no major flaws anywhere. I would rate it around an easy 9.5 since it's amazingly clean. Also, at 7.6 lbs., it's definitely on the light side for an American Standard era ('86 - '99). If you're a collector of different colored Strats, the most rare are Tanqueray Tonic, Graffiti Yellow, and Razz Berry this would be a valuable Stratocaster in any condition due to the rarity. Includes case and trem arm
Original antique Bronze mortar and pestle late 17th early 18th century. Beautiful casting original pestle solid bronze. Measuring 4.5" Diameter 3.5" Tall pestle 6.5" Long.
Edmond Aman Jean, Symbolist Portrait of a woman lithograph, published 1896 in London for the scarce volume 8 of "The Studio". Printed on smooth wove paper signed with initials lower left image and with the studio blindstamp lower right. Bio, Edmond Jean, French painter and printmaker. He studied at the Ecole des Beaux-Arts in Paris; there he befriended Georges Seurat with whom he shared a studio for several years. He exhibited at the Salon de la Société Nationale des Beaux-Arts Image size 5 3/4"L X 6 1/4"W overall
8" L x 11" W.
Oil painting on canvas of a nude female figure signed A Brook lower right- Alexander Brook (1898 – 1980) . Image size 22"x 30", overall dimensions 26.5" x34.5". Lightly textured. In Good Condition.
Born in Brooklyn, New York, Alexander Brook was a realist painter, whose works consisted mostly of still-life subjects, landscapes, and figures, often of women. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930.
In New York, he studied at the Art Students League between the years of 1914-1918. It was at the Art Students League that Brook developed significant relationships with Niles Spencer, Reginald Marsh, Kenneth Hays Miller, Yasuo Kuniyoshi and, perhaps most significantly, Peggy Bacon, whom he married in 1920. Along with Kenneth Hayes Miller, Brook studied with John C. Johansen, Frank V. DuMond, George Bridgeman and Dimitri Romanofski. Within this group lay the foundations of American Realism. Brook was a member of the Society of Independent Artists, who rebelled against the strictures of the National Academy of Design.
In 1938 Brook traveled to Savannah, Georgia, there he did some of his most provocative work. After two years in the South, Bacon and Brook were divorced. Brook later married the painter Gina Knee.
During the years 1928 through 1939, Alexander Brook had works in over one-hundred exhibitions, fifteen of which were one man shows. By 1942, Brook had resumed teaching at the Art Students League. Demand for the artist's work kept him in significant collections, galleries, and museums, including the Downtown Gallery (New York), the National Academy of Design, the Rehn Gallery, the Larcada and the Knoedler galleries.
Brook received awards at the Art Institute of Chicago (1929), the Pennsylvania Academy (1931), the Guggenheim Fellowship (1931), and the San Francisco Art Association (1938).
This image of the Buddha is in a naturalistic style most probably prompted by colonial influences. It has been carved in wood, lacquered and gilded and inset with glass fragments backed with coloured foil (known as hman-zi- shwei-cha) and overlaid thayo work, a process whereby thin, rolled strands of lacquer and ash putty are applied in patterns.
The image is in the Mandalay style and shows the Buddha seated in vajrasana, with his right hand gesturing to the earth in the bhumisparsa mudra position. It is probably the most characteristic form of religious sculpture in Burma (Lowry, 1974). The posture, known as 'calling the earth to witness', represents the moment when the Buddha was seated in meditation under the Bodhi tree during the evening before his enlightenment. Mara asked him to name anyone who would give evidence that he had given alms, and the Buddha motioned to the earth with his right hand and said that the earth would bear witness to that - in a previous incarnation when he was known as Vessantara, he had given alms to such an extent that the earth had begun to quake.
The image shows the Buddha seated on a low platform or socle and dressed in ample robes with naturalistic folds and pleating. Earlier images of the Buddha across Southeast Asia tended to show the monastic robes in a much more schematic way.
The eyes have been inlaid with a white material, usually described as mother-of-pearl, with black pupils probably painted on with black lacquer.
The cranial protuberance (unisha) is rounded and the head decorated with tight curls in low relief. Unusually, the curls are arrayed in a pattern on the back of the head, rather than being in a more typical, somewhat random manner.
The image has been lacquered with black lacquer and then gilded.
Overall, the image is very sculptural and decorative: the naturalistic flow of the robes, and the refinement of the face, are particularly pleasing.37"T x 32"W x 24"D. In good antique condition some minor losses and age cracking.
Original Albrecht Dürer woodblock print "The Flight into Egypt", from: The Life of the Virgin (B. 89; M., Holl. 201; S.M.S. 179) woodcut, circa 1504, This impression on laid paper with a Fleur de Lis watermark (Meder 122) it is an original 16th century print after the Italian edition with narrow margins with a 1 cm repaired tear top left otherwise in very good condition B. 11¾ x 8 5/16 in. (299 x 211 mm.) S. 11 7/8 x 8 5/16 in. (301 x 212 mm.) Archival framing the print is tiped to archival matte at top. An exqusite example of this important artists work.
19th C French antique still life with roses and fruit. Oil on Canvas in a quality gallery gold frame. Signed lower right. Canvas size: 18" x 24" overall framed size 30ʺW × 1ʺD × 24ʺH. W Good antique condition wear commensurate with age, 2 old minor repairs.
An antique bronze head of the Buddha Thailand Sukhothai style early 19th century. A serene face with elogated ears and a top unisa flame. in good antique condition measuring approx. 13.5 inches tall with mounted stand the Buddha it self overall approx. 12 inches,
Olmec Jade Mask Pendant Origin: Mexico, Circa: 1200 BC to 900 BC, Dimensions: 3 5/8 high x 2.5 wide, Collection: Pre-Columbian, Olmec, Medium: Jade.
Richard Bonington original oil on canvas of a old English town view signed very faintly lower right measuring approx. 9 x 12 inches framed in a contemporary gallery frame. Provenance: British Consulate San Francisco.
Richard Parkes Bonington was born in the town of Arnold, 4 miles from Nottingham in England. His father was successively a gaoler, a drawing master and lace-maker, and his mother a teacher. Bonington learned watercolour painting from his father and exhibited paintings at the Liverpool Academy at age 11.
In 1817, Bonington's family moved to Calais, France where his father had set up a lace factory.
At this time, Bonington started taking lessons from the painter François Louis Thomas Francia, who trained him in English watercolour painting.
In 1818, the family moved to Paris to open a lace retail outlet. It was Paris where he first met Eugène Delacroix, who he became friends with. He worked for a time producing copies of Dutch and Flemish landscapes in the Louvre. In 1820, he started attending the École des Beaux-Arts in Paris, where he studied under Antoine-Jean, Baron Gros.
It was around this time that Bonington started going on sketching tours in the suburbs of Paris and the surrounding countryside. His first paintings were exhibited at the Paris Salon in 1822. He also began to work in lithography, illustrating Baron Taylor’s "Voyages pittoresques dans l'ancienne France" and his own architectural series Restes et Fragmens". In 1824, he won a gold medal at the Paris Salon along with John Constable and Anthony Vandyke Copley Fielding.
Bonington died of tuberculosis on 23 September 1828 at 29 Tottenham Street in London, only 25 years old.
A beautiful Chinese antique embroidered silk robe with forbidden stich and fine detailed images of flowers incects robins egg blue background silk with embossed cloud and wan (swastica) symbol of buddist prosperity. A beautiful robe from a prominent Boston estate measuring approx 45" across widest point 42" L. In good conndition wear to the edges of sleaves and light food stain on front can by easily cleaned and restored to make an exqusite robe for wear or display.
Antique 19th Century English Victorian Gothic Revival tall standing canterbury with three-quarter pierced gallery above a secondary shelf, lower section with three compartments between pierced vasiform dividers, frieze drawer, raised on turnip-shaped feet on casters. Beautiful figured solid rosewood. Circa 1870-1890. Wear commensurate with age, missing center divider. Great for magazines books display etc.
Oil painting Madonna of the Finch after Raphael. An 18th century old master copy of the great masterpiece by Raphael. Presented in a fine hand carved 24K gold leafed antique frame. Image 25.5"L x 18.5"W. Overall framed size 34 x 28".
An ancient southeast Asian (Thailand) pottery bowl from the Ban Chiang culture, dating to approximately 500 B.C. A wonderful piece measuring approx 10" x 8.5" in excellent ancient condition a small hair line at the top edge. This a distinctive vessel with a bold form and individualistic style, the body rises from a rounded base. The piece is adorned with exuberant painted curvilinear forms This striking earthenware vase was produced at the site of Ban Chiang, Thailand, and is typical of works attributed to its later phases. A site of remarkable social complexity, Ban Chiang is considered the most important prehistoric settlement so far discovered in southeast Asia. It marks an important stage in human cultural, social and technological evolution, presenting the earliest evidence for farming and complex metallurgy in the entire region. Its long cultural sequence, size and economic status has no parallel in any other contemporary site. Representing a seminal point in the history of human development in its region, it is unusual for vessels of this type to survive undamaged and in such excellent condition.
A fine original oil on Canvas signed lower right and on verso titled Polombaro Italy. A beautiful painting a fine example of this renowned artist work. Measuring approx. 20 x 24 in a quality hand carved 24k gold leaf frame.
Rene Genis was a 20th century French painter renowned for his landscapes and still lifes and for his palette of very transparent blues and greens. Genis studied at the École des Beaux-Arts in Bordeaux, then at the École des Arts Decoratifs in Paris. Starting in 1959 he had numerous one-man exhibitions in Paris and New York. In the summer of 2002 he had a one-artist exhibition at Galerie 26 on the Place des Vosges, Paris. This still life by Genis entitled "L'Artichaut" was done in 1951 in Fauvist greens, yellows, reds and purples. His work can be seen in museums in Aix-en-Provence, Bordeaux, Lyon and at the Musée Municipal d'Art Moderne in Paris.