Catalog (163)

19th Century American sheraton sideboard. Flame mahogany with ebonized and boxwood inlay. Single center drawer flanked by two deep drawers, one with divided compartment. Resting on tapered Marlborough legs. DIMENSIONS. 60ʺW × 28.5ʺD × 36ʺH

An ancient Chinese Han Dynasty earthenware cocoon jar circa 206 BC-220 AD, with traces of original hand painted design motif. Cocoon jars a name derived for its the resemblance with the shape of a silk worm cocoon. They were originally used as wine storage vessels. This is a beautiful example in good ancient condition but for normal wear to surfaces. DIMENSIONS 12ʺW × 8ʺD × 10ʺH

Beautiful large antique original oil painting of a European village and landscape by famed American painter Colin Campbell Cooper. Oil on canvas signed and dated lower right 1907. Presented in a quality antique gold leaf frame. In good antique condition some wear commensurate of age. Biography A resident and distinguished impressionist painter of both the East and West Coasts, Colin Campbell Cooper earned an international reputation with his depictions of landscapes, florals, portraits, gardens, interiors and figures. He was especially noted for street scenes and skyscrapers of New York and Philadelphia, and his impressionist* palette was inspired by Childe Hassam, whom he met in New York beginning in the 1890s. In the later part of his life, he focused on West Coast subject matter and espoused The California Style* of watercolor painting, a bold, aggressive new oil-painting look to a medium that had traditionally been used more modestly. He was born in Philadelphia to an upper class family where the father was a surgeon, and he, the son, was encouraged by his educated family to pursue art. He was also inspired by the art he saw at the 1876 Philadelphia Exposition*. He studied at the Pennsylvania Academy* of the Fine Arts with Thomas Eakins and in Paris at the Academies Julian*, Vitti, and Delecluse*. During that time, he traveled throughout Europe and painted picturesque architectural scenes, which gained him widespread recognition. Sadly many of these paintings were lost in a fire of 1896. From 1895 to 1898, he was instructor of watercolor at the Drexel Institute in Philadelphia and then moved to New York City from where he and his artist wife, Emma Lampert, traveled throughout the world in search of subject matter. On a European trip in 1912, they sailed on the Carpathia and became part of the rescue operation of the sinking Titanic, an experience that Cooper depicted in a painting, View of Steamship Carpathia passing along the edge of the ice flow after recuing survivors of the Titanic (1912). Of this event it was written by an historian that Carpathia, built 1902, "was sailing from New York City to Rijeka on the night of Sunday, 14 April 1912. Among her passengers were renowned American painters Colin Campbell Cooper and his wife Emma, journalist Lewis P. Skidmore, photographer Dr. Francis H. Blackmarr and Charles H. Marshall, whose three nieces were traveling aboard the Titanic. . . .At 4 o'clock in the morning Carpathia arrived at the scene after working her way through dangerous ice fields. Carpathia was able to save 705 people, all that survived the sinking of Titanic. Carpathia, outbound for the Mediterranean prior to the distress call, ferried the survivors to New York." (lostliners.com) The Coopers first went to California in 1915, spending the winter in Los Angeles and in 1921, settled in Santa Barbara, where he served as Dean of Painting at the Santa Barbara Community School of the Arts*. He was a member of numerous associations including the California Art Club*, Salmagundi Club*, and the National Academy of Design*. His work is in many museums including the Cincinnati Art Museum, the St. Louis Museum, and the Oakland Museum

An original antique monotype oil on paper of a path through a forest by Joseph Henry Sharp. Signed lower right presented in a vintage period frame. Measuring overall size 17.5" x 22.5". Biography, Born in Bridgeport, OH on Sept. 27, 1859, Joseph Henry Sharp was raised in Ironton and Cincinnati. He began art studies at the Cincinnati Art Academy at age 14. In 1882 he was a pupil of Charles Verlat in Antwerp; the following year he made his first trip to the West to sketch the Indian tribes of New Mexico, California, and the Columbia River. In 1886 he again was in Europe accompanied by Frank Duveneck. While in Munich, he was a pupil of Karl Marr and had further study with Jean Paul Laurens and Benjamin Constant in Paris. Sharp taught at the Cincinnati Art Academy from 1892 until 1902, and then resigned to devote full time to painting. Summers were spent in Montana at Crow Agency in a cabin and studio at the foot of the Custer Battlefield. As well as a home in Pasadena, he also had a studio in Taos, NM which was opposite Kit Carson's old home. During the 1930s he made several painting trips to Hawaii. Sharp died in Pasadena, CA on Aug. 29, 1953. Eleven of his paintings of famous Indians were purchased by the U.S. Government in 1900 and now hang in the Smithsonian Institution. A collection of 80 Indian portraits and pictures were purchased by Phoebe Hearst in 1902 for UC Berkeley. Memberships: Cincinnati Art Club; Prairie Printmakers Club of Los Angeles; Salmagundi Club; American Fine Art Association; Southwest Society of Artists; Taos Society of Artists; California Art Club. Exhibitions: Pan-American Expo (Buffalo), 1901 (silver medal); Cincinnati Art Club, 1901 (1st prize); Panama-California Expo (San Diego), 1915 (gold medal); Southwest Expo (Long Beach), 1928; California Artists, Pasadena Art Institute 1930 (1st prize). Museum Collections: Houston Museum; Orange Co. (CA) Museum; Butler Museum (Youngstown, OH); Southwest Museum (LA); Museum of NM (Santa Fe); Cincinnati Museum; Herron Art Inst. (Indianapolis).

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.

Beautiful antique Indian rosewood and brass mounted dowry / marriage Box. A pyramid form box with with hinged top over a compartmentalized interior. Measures 9.5 inches x 13 inches x 10.25 inches. Dating from the 19th century india. In good antique condition minor imperfections commensurate of age.

Pablo Picasso (Spanish, 1881–1973) Oath of the Women from Lysistrata Bloch 267-272. Original pencil signed etching from the deluxe edition of 100 signed etchings. Printed by Roger Lacourière (French, 1892–1966) Date: 1934 Medium: Etching Dimensions: plate: 8 11/16 x 5 3/4 in. (22.1 x 14.6 cm) sheet: 15 1/8 x 11 1/8 in. (38.4 x 28.3 cm) Condition is very good some minor staining and foxing very slight minor surface creasing.

Beautiful original antique American Impressionist oil painting portrait of a woman by Charles Frederick Keller (1852 - 1928). Oil on canvas signed lower right presented in a quality gold gallery frame. Keller was active/lived in New York, Wisconsin. Charles Keller is known for Animal, figure, genre and landscape painting. A painting by Keller recently sold at auction for $4,938 at :Pook & Pook Inc. Decorative Arts Jan. 20 2020 Measures overall framed size 21.5" W x 24.0" H x 2.5" d. canvas is 15" W x 18.0" H. In excellent antique condition.

Vintage American Impressionist Oil Painting Girl Flowers on the Beach by Barton. Oil on 20 x 24" panel signed lower left presented in a quality gallery frame. Harry Lang Barton, artist and illustrator May 12, 1908 - August 12, 2001 Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved--painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry's life was art. Harry's career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter. In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he--along with his wife Pauline and his daughters Joan and Linda--took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life. Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy's Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux. Harry's paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe. Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with--in addition to Frank Reilly--Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end

By Adolf Muller Crefeld (German 1863-1934) bronze art deco statue of a dancer a beautiful form with great patina a beautiful marble base. measuring overall approx. 14 inches tall. excellent condition. Berlin. Literature:
 “Bronzes, sculptors and founders” by H. Berman, Abage. 
“The dictionary of sculptors in bronze” by James Mackay. Antique collectors club. 


Vintage American Impressionist Oil Painting on panel of a Swan on Lake by Harry Barton. From the estate of the artist with stamp on the verso. Presented framed in a quality gallery frame. Overall size 20ʺW × 1ʺD × 16ʺH Harry Lang Barton, artist and illustrator May 12, 1908 - August 12, 2001 Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved--painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry's life was art. Harry's career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter. In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he--along with his wife Pauline and his daughters Joan and Linda--took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life. Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy's Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux. Harry's paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe. Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with--in addition to Frank Reilly--Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end

An original Italian impressionist oil painting of Capri and the bay of Naples and Faraglioni Rocks on canvas signed indistinctly lower right. Presented in a quality contemporary gallery frame. Oil on canvas measuring 16 x 24" overall framed size 22 x 30". In good vintage condition some minor touch ups. A beautiful painting.

A nude slave girl on a bear skin rug orientalist manner oil by A. Goldwhite a listed artist. This stunningly beautiful painting is c. 1900 oil on board framed in a quality period gold leafed frame. Signed lower right A. Goldwhite measuring approximately 18 x 24 inches framed size 24 x30 inches the condition is excellent. A quality painting would be a fine addition to any collection.

A beautiful vintage set of three Chinese paintings on silk Muses of Music with Deer and Tiger with musical instruments. Presented beautifully framed and matted. Each measuring 16.5" W x 26.5" H x 0.75" D. Each artist signed with exquisite details.

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.

Biography

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.

Vintage Modernist Watercolor Americas Cup Yacht Sailing Races by Willard Bond. Presented matted and framed. Biography By DENNIS HEVESI Published: June 10, 2012 In First Around, one of Willard Bond's best-known paintings, two towering yachts are caught in a roiling sea. The one to the fore is rounding a mark, sharply heeled in the wind, its crew crammed by the upper rail to keep it from capsizing. It has not yet raised its spinnaker, the balloonlike sail toward the bow. Perilously close by, the other boat has just turned the marker, its billowing spinnaker a virtual rainbow of iridescent pink, blue, maroon and white. All this is captured in Mr. Bond's bold, swirling strokes that verge on the abstract. "Bond creates paintings, not around what boats look like, but what it feels like to be aboard or nearby, watching them move fast — big, speeding boats, often only inches apart," J. Russell Jinishian wrote in his 2003 book, Bound for Blue Water, a comprehensive study of marine art. "Crews scramble, sails drop and raise in a flurry of activity," Mr. Jinishian wrote. "The tension is high, adrenaline pumps, orders are yelled, spray flies, seas and heads pound, your whole world spins as you are unconscious of everything else around you. If you want to know what it is like to be in the heat of a yacht race, just look at a painting by Willard Bond." Mr. Bond, whose images line the walls of thousands of homes — particularly those of avid sailors — died of congestive heart failure on May 19 in Yountville, Calif., his daughter, Gretchen Bond de Limur, said. He was 85. Until moving to California several months ago to be near his daughter, Mr. Bond had divided his time between his apartment in Brooklyn Heights and the 30-foot-high geodesic dome he built decades ago as a second studio near Barryville, N.Y., in the Catskills. Even there, he could conjure up images of sailing vessels and the sea. In Knarr Class, Mr. Bond depicted the copious mast of a wooden racing boat. Against a glowering sky, with perhaps a storm on the horizon, the boat is tilted toward its port side. Subtle blues, greens and grays blend in the water and the clouds, with white dots hinting of structures on the distant coast. Over five decades as a marine artist, Mr. Bond created hundreds of watercolor and oil paintings, "everything from cruising sailboats to America's Cup yachts," said Jeffrey Schaub, owner of the Annapolis Marine Art Gallery in Maryland and a longtime representative of Mr. Bond. He said Bond originals sell for up to $30,000, his limited-edition lithographs for up to $1,000, and his posters for up to $45. "Willard Bond was an original," said Jeanne C. Potter, director of the Maritime Gallery at Mystic Seaport in Connecticut. "Willard would often hear from the sailors who raced that that is the way it is out there, and that he was the only artist that got it." He found his passion as a teenager sailing on Lake Coeur d'Alene in Idaho, where his grandparents owned a houseboat. Willard Gordon Bond was born in Colfax, Wash., on June 7, 1926, to Arthur and Hallie Gilleland Bond. The family later moved to Lewiston, Idaho. When not sailing on Lake Coeur d'Alene, the young man worked for several summers as a fire spotter for the United States Forest Service. After serving in the Navy in the Pacific from 1944 to 1946, he attended the Art Institute of Chicago, then moved to New York to study at the Pratt Institute, from which he graduated in 1949. In a loft on the Lower East Side of Manhattan, Mr. Bond began creating large-scale abstract oil paintings and ceramic murals while supporting himself as a set designer, lighting technician and occasional actor in Off Broadway theaters. In the early 1970s he went to the island of Jamaica, where, inspired by Buckminster Fuller, he built geodesic-dome homes in the jungle, as well as two large domes for a school, commissioned by the Peace Corps. It was after returning to New York in 1976 and becoming a pier master at the South Street Seaport — he welcomed the tall ships of Operation Sail to New York Harbor for the bicentennial celebration — that Mr. Bond turned to marine art. His works began selling at galleries. At the same time, his daughter said, he sailed his own small boat off Long Island before graduating to a Chesapeake Bay skipjack, which had long been used for oyster dredging. In addition to his daughter, Mr. Bond is survived his longtime partner, Lois Friedel Bond (they were once married, then divorced and then began living together again in Brooklyn), and two grandchildren. His first two marriages also ended in divorce. Not all Mr. Bond's paintings reflect a turbulent sea. There is an almost palpable peace to his "Running Home," an oil painting that depicts four yachts far in the distance, their sails — black and white, red and white, blue and white, and pure red — full as they head to port at the end of a day of racing. "Running" means that the wind is behind them

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.

Original antique watercolor floral botanical painting of a yellow flowering plant 19th century c.1850. This lovely original watercolor is from a mid 19th century botanical watercolor album. Although unsigned it was clearly done by a highly skilled artist. The paper is Whatman watermarked and dated. . Presented matted with archival materials and framed.

Ju Ming Taichi series bronze standing approx. 8 inches tall from an edition of 4 Signed by the artist. In excellent condition. Ju Ming’s Taichi Series has established an eminent position in the international art scene. Indeed, since his Nativist Series of the mid 1970s, Ju has opened up new directions for Taiwan’s modern sculptures. For decades, with the principle of “art as self-cultivation” in mind, he has made several artistic climaxes in the form and content of sculptural art. He explored his own unique artistic language while preserving the values of traditional cultural symbols of China in the modern abstract movement.

Jean Baptiste Oudry original paintings on board of Hunting dogs signed and dated on reverse Oudry 1730 and each dog is named. Oudry accompanied Louis XV hunts and sketched on sight and later painted larger oils from these sketches. each measuring 16.5 x 21.5 cm.

Biography

Louis XV, king of France, often called Jean-Baptiste Oudry to Versailles to paint the royal hounds--in the king's presence. "Monsieur Oudry had acquired such a habit of conversing with high-ranking persons and of working in their presence that he painted as calmly at the court as he would in his own studio," marveled a contemporary. Though his father was a painter and art dealer, Oudry's first serious training came from portrait painter Nicolas de Largillière. By about 1720, the young man was concentrating on animals, hunts, and landscapes. He became a member of the Académie de Peinture et de Sculpture in 1719 and a professor there in 1743. From 1726 Oudry had great success designing tapestries. In 1734 he was named director of the Beauvais tapestry manufactory, which he re-established by bringing in artists like François Boucher. Two years later, he became director of the Gobelins manufactory. Supervising all tapestry production gave Oudry considerable influence on French decorative arts. He also had a large studio and was literally overwhelmed by commissions. His clients included Czar Peter the Great of Russia and the Queen of Sweden. Oudry's work was marked by attention to detail combined with freedom of execution. A master of chiaroscuro, he maintained a lifelong interest in light and reflections.

Charles François Daubigny landscape oil on panel signed lower left presented in a quality gold leaf frame. Panel measures 10.5"W x 7.75"H. overall framed size 16.0" W x 13.0" H x 2.5" D A French landscapist of the Barbizon School, Charles-Francois Daubigny was born in 1817 in Paris. In 1835, having received a small scholarship, he went to Italy, where he spent an unproductive year. He earned a living by doing engravings for books and regularly sent to the Salon peaceful landscapes, painted in a highly detailed style, with great respect for nature.

A fine rare Pennsylvania German folk art brides box c. 1830 in very good antique condition with all original antique paint. Old german script reads, "SCHAU ES NUR AN WIE DU WILLST EX IST DES VATERS EBENBILD". ROUGHLY TRANSLATES TO "SEE IT THE WAY YOU WANT IT IS YOUR FATHER'S LIKENESS. Measuring approx. 19 x 12 x 7 inches a Museum quality American folk art piece.

An original antique French Art Nouveau bronze statue of a glamorous woman c.1905. Bronze mounted to a marble base signed on verso with the stamp medallion of Original Bronzes Society Paris France. Dimensions 3.5ʺW × 3ʺD × 7.5ʺH Georges Van der Straeten was a Belle Epoque sculptor born in Ghent, Belgium, on December 21, 1856. He studied under the Neo-Baroque sculptor Jef Lambeaux (1852-1908). In 1883, at the twenty-seven years old, Van der Straeten moved to Paris. While living in Paris he befriended Jean Marie Constantin Joseph "Jan" van Beers, a fellow painter and son of the Romantic poet Jan van Beers. He lived at 9 Hoche Avenue, Paris. Van der Straeten showed at his first Paris Salon in 1885 and continued to show until 1912. He won many awards for his work, including the silver medal at the 1900 World's Fair, Paris and a knight of the Legion of Honor in 1903. Van der Straeten's figures are detailed and inspired by the French artist Antoine Watteau (1684-1721) and similar in style to the Italian sculptor Emmanuel Villanis (1858-1914). The work is Art Nouveau with an emphasis on the figure. His works have been produced in large numbers by French foundries Paris Bronzes Society, Pinedo and by ceramsist Friedrich Goldscheider. The artist died in Ghent in 1928.

Haight and Ashbury street signs San Francisco California. The original street signs from possibly the most famous street corner in the world. Circa late 1960s or early 1970s they later were mounted high up on he traffic light standard please view pictures. A chance to own a decorative historical item great for display in a music club or game room or rock museum.

A beautiful original vintage Art Deco French bronze statue of a seated panther by Max Le Verrier Paris artist signed c.1930 measuring 11.75" W x 10.5" H x 4.75" D. Artist Biography Art Deco, which is widely considered to be an eclectic form of elegant and stylish modernism, was influenced by a variety of sources - among them were the so-called "primitive" arts of Africa; as well as historical styles such as Greco-Roman Classicism; and the art of Babylon, Assyria, and Ancient Egypt- updated by aerodynamic designs. At that time, the women's liberation movement was making significant progress. Bobbed hair and short skirts (to dance the lively Charleston) characterized the iconic figure of the "flapper" called garçonne in French, meaning "boy" with a feminine suffix. This new "in motion", slim and slender, shortly dressed, female silhouette, was an important source of inspiration for Max Le Verrier when he created his collection of dancers, gymnasts, and Art Deco lamps. He continued to work on this theme and also one concerning animals, using a precise linear fluidity and simple shapes. The captivating beauty of his creations, not only can be judged by the extreme detail of the hands and faces sculpted, but also by the elegance and charm of the poses of his sculptures. Louis Octave Maxime Le Verrier was born in Neuilly sur Seine on January 29, 1891. His mother was Belgian, and his father was a Parisian goldsmith and jeweler on Boulevard Malesherbes in Paris. His parents divorced when he was 7 years old. He attended several boarding schools including Collège de Verneuil sur Avre and was a brilliant student. His interest in drawing and sculpture occurred early, and he practiced his craft on wooden rulers, which he turned into little houses, churches, and other small items. His father thought that his future should be in farming; therefore he sent his son to St. Sever and La Reole to study agriculture against Max's wishes. However, Max Le Verrier kept alive his liking for sculpture during his spare time. At the age of 16, he returned to Paris and did odd jobs to escape farm-work and to provide for himself, and his father left him to fend for himself. In 1909, when he was 18, he left for England but As a foreigner, it was very difficult for him to find a job in London, so he returned to France. This period was an aviation era, which fascinated many youth of that time. He met a Frenchman named Jameson, who bought a plane on credit, and, together, they opened an aviation school in Rendon. The business was difficult. Jameson gave his part to a rich, well-off Englishman na

This attractively proportioned games table is a form famously produced in the Salem, Massachusetts area at the beginning of the 19th Century. The serpentine form with ovolo corners, coupled with richly carved foliate and reeded legs, is a motif used by those cabinetmakers and carvers associated with the successful workshop of Samuel Field McIntire (1757-1811). The hinged serpentine top has a serpentine front and sides with outset ovolo corners. The top rests above a conforming apron with a vibrantly grained mahogany panel. Richly carved and turned legs flank each corner of the apron and the proper right rear leg, swings out to support the flyleaf top. The legs terminating in ornate gilt brass casters.

Original American oil painting portrait of a western horse by John Jones 2004. Oil on canvas signed lower left paint in grasaile gray tones measuring 16" x 20" presented in a quality gallery frame overall size 22" x 26". A very fine decorative painting. Artist Biography. John Jones born at Hobbs, New Mexico, in 1940. Hobbs was a fairly new oil boom town, moving into the modern world when World War II came along. My folks were raised in Oklahoma and Texas, and their folks were part of the homesteading and settling, and farming and ranching of the West. Some of my earliest memories are of making my toys out of clay. Then drawing all the time on what ever kind of paper I could get. I got hold of a roll of butcher paper when I was about 9, and remember drawing whole scenes right down the roll laid out on a cement floor. I remember making a lot of my own toys, whittling and carving them out of wood. I was sort of in different fantasy worlds, in that I made a lot of model airplanes and dressed in my western chaps and hat at the same time. And naturally I did adventure comic strips, especially when we were fighting the commies in Korea. The subject matter in my art was always varied, but the horse was always prominent. I 'dinked' with drawing and painting part time, as I discovered girls and cars, and sports and didn't know that a person could make a living doing artwork. After a stint in the Navy, I took a job with the Forest Service about 1970, and discovered Montana. I went in some Art Galleries in Kalispell, Montana, and saw that some guys were selling paintings. I said, "Heck, I can do that." So, I started doing paintings to sell, and started sculpting in wax. That started an adventure in Art, that continues today I learn from other Artists, books, TV shows, and anywhere that has something of interest. Mostly, I learn from trial and error. I think that masterpieces can be done in a closet, if that is the only space you have. But, I prefer to have a nice studio. I sometimes work on a series of paintings. Right now I am living in Lincoln, Nebraska, with my true Love, and have a nice studio. As I get a little older, I am having to narrow down my subject matter. I like the Old West Subjects best of all, but we aren't that far removed from the "Old West". So, I imagine that I will continue to do a mixture of old and new west, and anything with horses. I plan to do a series on the early longhorn cattle drives, and that may happen, if I can keep from straying too far. A few years ago, I went to Montana to do a series on the Longhorn, and wound up doing buffalo hunts and indians attacking stagecoaches. But, most everyone up there wanted me to do packer scenes, so I did a lot of packers and cowboys in slickers.

Original acrylic painting on canvas of the Manhattan skyline by Tom Christopher. Signed on verso from his Brill Building project series Times Square 2014. Measuring 30 x 48 x 2 inches.

Tom Christopher (born 1952 is an American artist known for his expressionist urban paintings, mostly of New York City. Christopher began as a commercial artist, and has become a notable artist with worldwide galleries and exhibitions. Christopher is known for his New York City urban paintings. Most of the work is painted using small-batch, handmade acrylic paint. Pencil lines from the initial exploratory sketch stage often remain on the white canvass. His typical images include cabbies, delivery men, skylines, and chaotic New York City scenes. His work is usually done with acrylic paint in an expressionist style.

An exquisite sterling overlay cranberry glass pitcher awarded as a trophy for the Motor Boat Club of America. Measuring 13.5 inches tall in excellent condition.

A Beautiful original vintage 1939 oil painting "Bathing Horses" attributed to Russian artist Nikolai Petrovich Bogdanov-Belsky in 1939. Oil on canvas signed and dated lower right. Presented in a quality contemporary gallery frame canvas size 20” x 23.5” overall framed size 23 3/4 x 29 1/4. Artist Biography: Nikolay Petrovich Bogdanov-Belsky was a Russian painter. He was born in the village of Shitiki in Smolensk Governorate in 1868. He studied art at the Semyon Rachinsky fine art school, icon-painting at the Troitse-Sergiyeva Lavra in 1883, modern painting at the Moscow School of Painting, Sculpture and Architecture in 1884 to 1889, and at the Imperial Academy of Arts in St. Petersburg from 1894 to 1895. He worked and studied in private studios in Paris in the late 1890s. Bogdanov-Belsky was active in St. Petersburg. After 1921, he worked exclusively in Riga, Latvia. He became a member of several prominent societies in including the Peredvizhniki from 1895, and the Arkhip Kuindzhi Society from 1909 (of which he was a founding member and chairman from 1913 to 1918). Bogdanov-Belsky painted mostly genre paintings, especially of the education of peasant children, portraits, and impressionistic landscapes studies. He became pedagogue and academician in 1903. He was an active Member of the Academy of Arts in 1914. Bogdanov-Belsky died in 1945 in Berlin. He was a member of the Russian Fraternitas Arctica in Riga.

Pair of original antique botanical Fern lithographs prints circa 1867. Edward J. Lowe’s Ferns: British and Exotic. this print was published in London by Groombridge & Sons in 1867. This work was one of the earliest works to concentrate solely on the subject of the fern. Lowe used his botanical expertise and money to produce this work. He hired A. F. Lydon as the artist for the work and Benjamin Fawcett created the lithograph plates. Presented archival matted and framed. overall size 12.5" x 15.5".

George Romney English, 1734–1802 watercolor painting on paper portrait of Lady Pamela Fitzgerald. The late 18th-century work is signed by the artist to the upper left corner. Presented in an ornate gilt and gesso frame under glass with a linen liner. To the lower center is a brass-tone name plate. Measuring image 8.0" W x 12.25" H overall framed size 14.5" W x 19.0" H x 2.5" D.

Original Vintage Art Nouveau Drawing of a Lady by Charles Sheldon c.1930. Presented matted and framed. Acquired with a group of art from the estate of the artist. Charles Gates Sheldon (b. 1889 / d. 1960) Charles Sheldon was born in Worcester, Massachusetts in 1894. He spent most of his life in Springfield. In high school, he contributed to the artwork in the yearbook. Sheldon studied at the Arts Students League. He then studied under Alphonse Mucha in Paris. He started working for Ladies Home Journal doing artwork of hats, gloves and fashion work. Sheldon moved into advertising doing creative advertising for clients such as, Fiberloid hair brushes, Fox Shoe Company, La Vogue lingerie and Gainsbourough. The ads had many stars features such a Zigfeld Follies. By 1921, Sheldon was working for high fashion companies. In 1924 and 1925, Sheldon created cover art for the Christmas issue of Colliers and a Halloween issue cover for Saturday Evening Post. By the late 1930's, magazines started to moving towards photography for their covers. However, Sheldon continued to produce his his delicate, dreamy, pastel portraits for the Breck Shampoo Company. Sheldon retired in the late 1950's. In 1960, he died at his home is Springfield. When his home was torn down in 1978, a hidden room was found full of "artwork by his contemporary illustrators such as J.C. Leyendecker, Howard Chandler Christy, Maxfield Parrish, and Charles Dana Gibson".

Original oil on paper titled "Western Hills Series #56" and signed lower right by Katherine Chang Liu, 1988. Liu an internationally renowned painter and teacher. Born in China, Liu received a full scholarship to UC Berkeley. Her work has been featured in 26 books and over 70 magazine articles. She is listed in "Who’s Who in American Art" and "Who’s Who in American Women." Her work can be found in many private and corporate art collections. This painting was in the corporate collection of Clorox corp. inventory number is on the side. Image, 24"L x 13"H . overall framed size 35.5ʺW × 2ʺD × 24.5ʺH

Original Vintage Iroquois Indian False Face Soceity carved wood mask c.1930. Measuring 10 inches by 7 inches by 4 inches deep. Hand carved and paintied wood with traditional metal eye accents and horse hair. From a north eastern American collection. The False Face Society is probably the best known of the medicinal societies among the Iroquois, especially for its dramatic wooden masks. The design of the masks is somewhat variable, but most share certain features. The eyes are deep-set and accented by metal. The noses are bent and crooked. The other facial features are variable. The masks are painted red and black. Most often they have pouches of tobacco tied onto the hair above their foreheads. Basswood is usually used for the masks although other types of wood are sometimes used. Horse tail hair is used for the hair, which can be black, reddish brown, brown, grey or white. The masks are carved directly on the tree and only removed when completed.

Close Description Original antique painting of a native American Indian woman braiding her daughters hair. Gouache on paper signed lower right L. C. Perry. Presented in the original antique frame. Born in Boston, Lilla Cabot Perry was a key person, along with Mary Cassatt, in bringing French Impressionism* to the United States from France. "For many years, she lectured, wrote, and encouraged American patronage of the style." (Dunn, 16) She was also the artist most closely involved with the Guild of Boston Artists*, which opened its galleries in 1914 to promote accomplished painters and sculptors. She served on the board as the first secretary and worked hard to cultivate persons for financial backing. Pery had prominent Boston social credentials that included the Cabot and Lowell families. Her father was a distinguished surgeon; and her husband's great uncle, Commodore Matthew Perry, opened Japan to the world in 1853. In 1874, she married Professor Thomas Sergeant Perry, a professor of 18th-century literature, and their home became a gathering place for many Boston intellectuals including Henry James, William Dean Howells, and her brother-in-law, painter John LaFarge. She had elite private schooling and began her art studies with Robert Vonnoh and Dennis Bunker at the Cowles School in Boston. Having first traveled to Europe with her family in 1887, she studied in France privately with Alfred Stevens and at the Julian* and Colarossi* Academies. She also exhibited at the salons and expositions and in 1889, attended Claude Monet's exhibition, "Impressions", which "was a revelation for Perry, who decided to take up residence in Giverny." (Dunn, 16) In 1889, Perry and Cecilia Beaux visited Claude Monet at Giverny*, France, and she was highly intrigued with his painting. He, who never took pupils, did give Perry advice and encouraged her to put down on canvas her first impression, saying that was the truest and most pure expression. Between 1889 and 1909, she and her husband spent ten summer seasons in Giverny, where they lived next door to Monet and became close friends. Perry recorded interviews with Monet, who seemed very fond of her, and the result was Perry's book, published in 1927, Reminiscences of Claude Monet. She also successfully encouraged her wealthy friends to purchase Monet's paintings. In 1889, she returned to Boston with one of Monet's paintings, Etretat, one of the first Impressionist works to appear in that area, and she was surprised that no one was very taken with the painting. Several years later, she gave lectures on Monet to the Boston Art Students Association. In 1898, her husband, accepted a college teaching position in Tokyo, Japan as chair of English Literature, and living there until 1901, she painted the landscape and the people, completing more than eighty paintings. Of this period in her life, art historian William Gerdts wrote: "Lilla Perry was one of the most significant of the American painters who went to Japan in the late 19th century; . . . of all the Americans to work there, Perry's work is the least traditional and is the most indebted to the Impressionist aesthetic, and some of her Japanese scenes are, in color and brushwork, extremely close to Monet." (97) In her later years, she lived in the upper class Back Bay area of Boston, and spent her summers in Hancock, New Hampshire. Lilla was a founder and first Secretary of the Guild of Boston Artists. Much of her painting of that period was for her own enjoyment and focused on activities of upper class women, with her daughters frequently serving as the models. She seldom did any preliminary sketching, and pastel was a favorite medium. In very good all original condition overall size 17ʺW × 2.5ʺD × 15ʺH.