A fine Japanese carved ivory artist signed dragon motif cribbage board. In its original fitted box originally sold by Kitashojik K. of Tokyo Japan. Measuring approx. 7 x 2 inches in very good condition some age yellowing and wear to the outside of the box. See pictures.
Rare Prince of Wales pitcher a white English stoneware pitcher in matte finish with round bottom wide neck and small spout. Large twisted handle, moulded to side. Sides elaborately moulded with royal coats of arms and "England Scotland Ireland Wales impressed mark WB Corridge Albion and date mark c.1863 measuring aprox. 7 inches tall and 7 inches at its widest point. In fine condition no damage a great decorative antique.
An original portrait of a beautiful woman oil on canvas signed lower right and dated 1929 in excellent condition.
Charles Ward Traver was a painter born in Ann Arbor MI on Oct 10 1880. Traver was a resident of Los Angeles in the late 1890's. In 1927 he was in New York City and visited Los Angeles again in 1932. He also lived in Wuanita Hot Springs, Colorado.
He was an illustrator for Land Of Sunshine magazine and did covers for Saturday Evening Post. He studied in Germany at the Royal Academy of Munich with Carl Von Marr and Henry Snell.
Exhibition venues include the Society of Independent Artists in 1917.
There is discrepancy in his birth date information, with both 1880 and 1889 given.
A beautiful Chinese export porcelain famille rose medallion large center bowl circa 1900. The bowl hand painted with traditional rose medallion motif of floral and butterfly designs plus mandarin figures and court scenes. Measuring 12 inches by 4 inches deep in excellent condition one minor restored flea bite to rim and some wear to enamel. A fine example.
A beautiful Chinese silver and Champleve enamel or cloisonne bead necklace with silver dragon filigree snuff bottle. Antique and very beautiful measuring approx. 16 inches long circa 1910
Sterling Cased Swiss enamel travel clock. A beautiful ornately decorated American sterling silver case opening to a fold out standing Swiss 8 day clock. In excellent condition one small bend in the closed edge of the case the clock runs well. A fine example would be a nice addition to any collection
A fine western bronze of two cow girls by Edward Fraughton born 1939 a Utah artist is a highly regarded sculptor of western bronzes. This example of two charming western girls is finely detailed and in excellent condition. Measuring approx. 12.5 inches tall signed and numbered 8 of 30 and dated 1971. A bronze by Fraughton sold at for 10,350 at Altermann Galleries on 10/23/04. A fine example would be a nice addition to any collection of western or Utah art.
French art nouveau majolica planter or jardinière c.1890s
By Frie Onnainc made in France. A beautiful form with dramatic art nouveau stylized flowers and thistles. In excellent condition one very minor professionally repaired chip on underside of rim barley detectable. A fine example of French majolica. Measuring 9 inches tall and 13 inches at the widest point. A fine addition to any collection.
Julian Rix trees by a pond signed lower right oil on board. A dramatic painting with an impressionist style measuring 11x14 inches framed in a modern gold leaf gallery frame 16x19 inches overall. A fine example of this important American and California artist. A painting by Rix sold for $108,000 at Christies auction 4/25/05.
Known for poetic landscapes, often sunset, illuminated by atmospheric light, Julian Walbridge Rix was early in his career an active painter in California and then on the East Coast. He was born in Peacham, Vermont on December 30, 1850 and moved with his family to San Francisco in 1853.
Because of his mother's death, he went back to Peacham four years later to live with his grandmother and graduating from Peacham Academy in 1868. He returned to San Francisco where he was apprenticed to a trading firm and later worked in a paint store painting signs and doing decorative work.
Primarily self-taught, he was briefly a pupil of Virgil Williams at the School of Design. He became close friends with Amédée Joullin and Jules Tavernier, and when the latter established an art colony in Monterey in 1876, Rix was one of the "Bohemians" who followed him there.
His studio in Monterey was in the French Hotel, but in 1879 he returned to San Francisco and shared a studio with Tavernier at 729 Montgomery Street. The art market in San Francisco during this period was not a healthy one which prompted Rix to move to Paterson, New Jersey in 1880 and subsequently establish a studio in New York City.
This milieu was what he seemed to need to find artistic success. His work was exhibited at the National Academy of Design during the 1880s. He studied art briefly in Europe during 1889 and upon his return, he found that his watercolor and oil paintings were in great demand in the East.
He maintained an active interest and participation in the San Francisco art scene and in 1883 sent back 200 paintings for a successful solo show. In 1888 his illustrations appeared in "Picturesque California." Rix returned to California for several months in 1901 and painted the valleys and mountains near Monterey and Santa Barbara.
A handsome man with a New England accent and blond sideburns, he never married and was called the Adonis of the profession. Following a kidney operation, Rix died in New York City on November 24, 1903 and was buried in the cemetery plot of a patron-friend in Paterson, New Jersey.
Source: "Artists in California, 1786 to 1940" by Edan Milton Hughes
A beautiful Large Staffordshire blue transfer ware well and tree platter made by Clews circa 1825. The platter features a scenic view of travelers in a landscape with ruins and a floral border. Measuring an impressive 21 inches by 16.5 inches the condition is excellent but for a minor chip that was successfully reattached (see picture) . It is amazing that there are virtually no knife marks or signs of use for a piece nearly 200 years old. Overall this is a fine example of this wonderful art form of transfer ware.
Chinese porcelain vase hand painted with the Three Sages of Happiness design motif. Tong Zhi perion 1862-1974 in excellent condition measuring approx. 9 inches tall comes in a fitted silk lined box.
Staffordshire Transferware Tea Pot
A Beautiful Staffordshire blue and white transferware tea pot c. 1830. Made by Adams the scene is called the Caging Bird picturing a group of farmers outside a cottage putting a bird into a cage. Classic Georgian English lines this tea pot is in excellent condition no damage or restoration. Measures 12 inches in length and 7 inches tall with impressed mark on the bottom Adams Warrantee Staffordshire.
A very fine antique Japanese Ivory netsuke of a Buddhist monk and a Oni figure. Artist signed very fine intricate carving the Buddha has a gold pin third eye on his forehead. Measuring approx. 2 inches tall or 5 centimeters. Truly a masterfully carved piece.
Sterling Stuffing or serving spoon by Hester Bateman London 1788
In excellent condition only minor wear fully hallmarked monogrammed W A H. Measuring approx. 11 inches 28 cm. long.
Hester Bateman 1708 - 1794
Hester Batemans's long career began after the death of her husband John Bateman(1704-1760. John was a chainmaker in London, but little is known about him.
After his death, Hester began to build the business, entering her first silver mark in 1761 and continuing to expand the business and went on to be one of the best known of the female silversmiths working in London during the 18th century.
Claude Buck self portrait of the artist c.1940 oil on board 16 x 20 inches. Provenance: the wife of the artist Leslie Buck.
A leading member of the avant-garde Symbolism* artists movement in Chicago, Claude Buck moved there from his birth place of New York City in 1919. He was known for his "fantastic, sometimes disturbing images with allegorical and literary themes" (Kennedy 97) drawn from writings of Edgar Allen Poe, operas by Richard Wagner, classical mythology and "New Testament" writings from the Bible. Some of these early paintings had nude figures rendered in Classical* style to express abstract themes developed through dream-like landscapes and disregard of relative scale or relatedness between the figures. These paintings had Luminist* elements achieved with light-toned paints worked with transparent glazes.
In the 1920s to earn money by gaining public favor and also expressing his increasing disdain for modernism, Buck did a number of hyperrealist* portraits, figures and still lifes. These proved popular and aligned him with the opponents of abstraction and their Society for Sanity in Art* movement whose headquarters were in Chicago.
Buck taught drawing and painting at the Chicago Academy of Fine Art from 1921 to 1926, and at the Art Institute, where he took over classes of George Bellows.
In New York City before coming to Chicago, Buck had a reputation as a radical artist. He took his first art training from his father, William R. Buck, from the time he was ages three to fourteen, and then until he was twenty-two, he studied at the National Academy of Design* where he was nicknamed "Kid Hassam" because his painting reminded viewers of that of Claude Hassam. Buck worked as a scene painter in the theatre and at the Willet Stained Glass company, and in 1914 began portrait commissions to earn money.
In New York, he founded a group named the Introspectives, which reflected his own problems with melancholy during that period. Members, holding their first exhibition at the Whitney Studio in 1917, were artists who expressed their personal feelings and experiences and included Raymond Jonson and Emil Armin. In this phase of his career, Buck was focused on Old World styles of Leonardo da Vinci, Ralph Blakelock and Albert Pinkham Ryder. In 1929, the Arts Council of New York voted him one of the top one-hundred painters in the United States.
A beautiful oil on board by Harold Christopher Davies of a a California impressionist landscape from his early days before he became a abstract modernist. Provenance the estate of the artist and Hoover Gallery of San Francisco. Measuring approx. 10 x 7 inches framed in a quality gallery frame overall size 9.5 x 12.5 inches. A fine example of this artists work.
Harold Christopher Davies was a painter with whom art came first and commercialism last. Though he was a remarkably passionate and somewhat prolific artist, he resisted gallery representation until the age of eighty-four, just one year before his death.
Davies began his formal art education at the age of fourteen, enrolling in the Corcoran Art Institute in Washington, D.C. Later he continued his studies at the San Francisco Institute of Art.
An abstract expressionist, his style was directly influenced by Cezanne, Gorky and de Kooning. Being a man of intense dedication to his art, he kept extensive notebooks and sketchbooks in which he developed his own artistic and aesthetic philosophy, often through his candid critiques of other artist’s works.
Painting, for Davies, was not a means of earning his living. Though he exhibited frequently at various local colleges and museums, he never sought public recognition of his talent. He believed fame compromised the integrity of an artist’s work. Davies earned his living as a businessman, eventually owning and operating his own chemical company. He lived a life of balancing his monetary obligations with the true love of his life: painting.
After living in a variety of cities around the United States, Davies moved to Inverness, California in 1969 where he was free to devote all his time to his art.
Oakland Art League
San Francisco Art Association
Huntsville (Ala.) Art Association
San Francisco Art Association, 1921-1931
Oakland Art Gallery, 1931
Birmingham Museum, 1951
Southampton Museum, 1959
University of Long Island Museum, 1964
Parrish Art Museum, 1964, 1966, 1967
Hoover Gallery (San Francisco), 1975
Fresno Art Center, 1976 (Solo)
Haggin Museum 1982
Huntsville Museum, 1982
Gorham Sterling Sliver tea set 2 1/4 pint a elegant regency style. Consisting of a Teapot creamer and sugar bow. Marked sterling and hall marked in excellent condition
A fine example with original lid hand painted with traditional
Chinese figures. In fine condition some wear to the gold decoration and a minor flea bit to the caddy rim. Measuring approx. 5 x 4 x 2.5 inches.