Catalog (165)

Original pencil drawing a portrait of a man by Balthasar Klossowski de Rola, signed monogram lower right. Best known as Balthus, a French painter in the second half of the 20th century, famous for his somewhat disturbing paintings of pubescent girls and for his association with some of the greats in modern art, including Pablo Picasso and Salvador Dali. Balthus painted figures and landscapes in a more traditional style than his cubist and surrealist contemporaries, and throughout his career was supported primarily by other artists and dealers. He claimed to be a count, but he was also known to be a prankster who fabricated biographical details while keeping his real life story a mystery. Image site measures 8 x 10 Inches overall paper 11 x 17 inches. Minor staining top left. Provenance a private collection and sold at Sotheby's lot 7767, Impressionist and Modern Art, New York, Thursday, February 21, 2002

A original antique Chinese Stoneware with white glaze (Cizhou ware) jar let from the Song Dynasty (960-1279) Measuring approximately 2.5" high and 3" wide. In very good antique condition. This fine quality Chinese celadon jarlet was probably exported to South East Asia from mainland China to Southeast Asia from mainland China. This particular piece has a good shape and glaze. The glazed ware was made extensively in China by the fourth century AD, and it was exported to South-East Asia from the time of the Song Dynasty (AD 960-1279).

Original oil on board c1950 "Portrait of a Horse" signed lower right by Harold Macintosh. Born Winnipeg Canada he studied at Winnipeg School of Art with L.L. Fitzgerald. He later made his way to New York where he found work as an illustrator. While McIntosh’s distinguished career as an illustrator is documented by numerous covers of magazines, Its his later Connecticut paintings can be found in museums and homes throughout New England. Image size 24"L x 36"W. Framed in period gilt wood frame.

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.

A gorgeous carved wood tribal feast or ceremonial bowl from Papua New Guinea. Beautifully carved with tribal figures and serpent designs around the bowl with tribal designs on the bottom. These bowls were economically important to the tribe as they provide the carvers with an extra income as well as being used during ceremonial village feasts and being an essential part of the traditional bride price. This would be a fabulous piece for your table and to display in any home interior. . Measuring approximately 27" long 10" wide and 5.5" deep

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.

Beautiful large original vintage Italian impressionist oil painting of Naples Harbor at sunset. Oil on canvas signed lower left G. Mariani. Canvas measures 24 x 36 inches. Artist Biography G. Mariani (Italian, 20th C.-), came from a family of artists who had been painting the beautiful cities and surrounding country life in and around their home of Naples, Italy, for many years. His father was the well known Italian landscape & cityscape painter Mario Mariani (Italian, 1907-) and he also had a brother, V. Mariani (Italian, 20th C.-) who was also an accomplished painter. G. Mariani loves to paint the water, the small harbors and particularly his home area of the Bay of Naples. He is well known for his coastal & seascapes views and fishing villages/marine scenes and for sunset skies which he often painted, as well as interior scenes of Italian country life. He was represented by his father Mario out of his art studio & gallery in Naples, where Mario not only represented his own work, but that of his two sons, as well as other represented artists. less DETAILS Tear Sheet Dimensions42ʺW × 2ʺD × 30ʺH

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

Beautiful antique original Italian watercolor landscape painting of a waterfall and castle ruins by Vincent Blatter signed lower left. Presented matted and framed. Vincent Blatter (1843 - 1913) was active/lived in Italy. Vincent Blatter is known for painting landscapes. Overall framed size 15 x 20" excellent condition.

Beautiful impressionist landscape of a shepherd and his dog and sheep in a landscape with trees. Bold impressionist brush strokes with a warm subdued palette. Oil on panel signed indistinctly lower right. Panel measuring 13" x 16" presented framed in a fine contemporary gallery frame overall size 18.5" x 21.5".

William Keith original oil painting wooded landscape with cattle by a lake. Oil on panel signed lower right canvas measuring Approx 14 x 22 a magnificent example of this famed California and American artists work. William Keith rivalled Thomas Hill as the most accomplished and successful landscape painter working in California during the 19th century. After two years spent studying art in Düsseldorf, Paris and Boston, Keith returned to California in 1872 as a sophisticated painter whose work drew on several prevailing styles popular in the cultural centers of the world. Many of his paintings reflect the influence of the "Hudson River School" and depict sublime mountain scenery à la Church or Bierstadt. But at the same time as he was painting alpine panoramas, Keith also focused on the more intimate landscapes of the French Barbizon movement that had come to the forefront of Parisian art appreciation during the 1860s. Barbizon painters adopted a more natural and impressionistic style than that of the academic painters; their works often communicate a rougher and stronger presence of nature than sweeter, more sentimental academic landscapes. Major works of the English painter John Constable, exhibited at Paris Salons of the 1820s, influenced the Barbizon painters in the direction of this stronger style. Works held: Los Angeles County Museum of Art; Metropolitan Museum; Crocker Museum (Sacramento); Art Institute of Chicago; Oakland Museum; Stanford University; Boston Museum; De Young Museum San Francisco; California State Capitol.

Antique oil painting on canvas of fireworks, likely of Bastille day from the Seine in Paris. The work depicts a dark evening nocturne offset by bright red and yellow fireworks with multiple figures in 18th century period attire in the foreground. Thickly applied paint is used throughout the painting to provide texture. The painting has been professionally relined, and is from the late 19th-early 20th century. Signed “Roybal,” bottom right, and presented in a black and gilt wood frame. Canvas size: 24" x 30".

Original N.C. Wyeth oil painting on art board title "Lumber" commissioned by Coca Cola company in 1943 for a series of posters in American industry. Signed lower right measuring 21 x 31 inches in excellent condition. A fine addition to any collection of American Art.

Biography

N. (Newell) C. (Convers) Wyeth (October 22, 1882-October 19, 1945), is one of the most celebrated illustrators in the history of art. He grew up on a farm in New England, and studied at the Massachusetts Normal Arts School where he attended classes taught by illustrators Eric Pape and Charles W. Reed. During 1902-04 he studied with the great illustrator Howard Pyle in Wilmington, Delaware. Wyeth accepted a commission from Scribner's and the Saturday Evening Post to paint western scenes, and traveled in the west to gain first hand knowledge of subjects. He worked as a ranch hand in Colorado and rode mail routes in New Mexico and Arizona. In 1906, Wyeth and Carolyn Brenneman Bockius were married in the Wilmington Unitarian church, and they made their home in nearby Chadds Ford, Pennsylvania. The focus of his painting soon shifted to the land and people of the region in which he lived. In 1911, Wyeth won a commission from Charles Scribner's Sons to illustrate a new edition of R. L. Stevenson's Treasure Island, a work that made him famous. He provided illustrations for dozens of other classic books, including Kidnapped (1913), The Black Arrow (1916), The Legends of Robin Hood (1917), The Last of the Mohicans (1919), and The Yearling (1939).

A beautiful antique oak jewelry box with silver on copper mounted art nouveau decorative panels with cherubs having a bacchanal with wine and music and other design motifs and trims circa 1900. The box opens two a plush lined interior with two tiers one with divider and ring or pocket watch holder. Measuring 9.0" W x 5.0" H x 6.25" D in good antique condition minor age imperfections.

A beautiful original antique oil painting of a young woman with flowers by Emile Eisman-Semenowsky Paris circa 1900. Oil on wood panel signed lower left and noted Paris. Presented in the original antique ornate picture frame with name plaque on center bottom. Panel measures 9.5" x 13" overall framed size 21.0" W x 24.5" H x 3.0" D. Emile Eisman-Semenowsky was born in Poland and was of Jewish descent. Little is known about his childhood and education. In the 1880s and 1890s, he spent several years in Paris, where he created the majority of his oeuvre. Semenowsky was influenced by oriental subjects, a widespread phenomenon in French 19th century art. His favorite subjects were depictions of women in oriental and antique-style costumes and genre scenes. His works were very popular among Parisian bourgeoisie, and many of his works were purchased by American collectors.

Original antique 19th century Japanese Woodblock Print by KUNISADA (AKA TOYOKUNI III, 1786-1864). Presented matted and framed. In good antique condition some surface soiling commensurate of age. Kunisada Utagawa was born in 1786 in Honjo, in the outskirts of Tokyo, the capital of Japan, then called Edo. His father died when he was about one year old. But he had left his son a hereditary ferry-boat license which provided a safe income. In contrast to so many other ukiyo-e artists like for instance Kuniyoshi Utagawa or his student Yoshitoshi Tsukioka, Kunisada never had to experience any financial hardships during his lifetime. The idea of a hereditary ferry-boat license seems strange to us today. You must know that the Japanese society of the Edo period (1603-1868) was extremely rigid. Your place in life was defined by your birth. If you were born as the son of a farmer, your destiny was to be a farmer for your whole life. Another example was the samurai warrior class. You could not become a samurai. You were born as a samurai.

"Teton Glacier" A Beautiful and important original oil painting by Leland Curtis oil on canvas signed lower left and artist label reverse. In excellent original condition with original frame. Measuring 40 x 48 inches overall framed size 48 x 55 in. A magnificent epic size American painting.

Biography

Born in Denver, CO on Aug. 7, 1897, Curtis was a resident of Seattle before moving to Los Angeles in 1914. He was inspired to become an artist by his teacher Rob Wagner at Manual Arts High School. After working as a bank teller and serving in WWI, he soon was able to support himself as an illustrator. He served as official artist of the U.S. Antarctica Expedition in 1939-40 and again in 1957. About 1960 he changed his residence from Los Angeles to Twenty Nine Palms, California, with summers in Moose, Wyoming. An avid mountain climber, his studio in the Grand Tetons was a rustic log cabin. In 1972 he moved to Carson City, Nevada, where he remained until his demise on March 17, 1989. He is best known for his landscapes of the High Sierra, Grand Tetons, and Antarctica. His works won dozens of medals and prizes from the early 1920s in southern California shows. Member: Carmel Art Association; Artland Club. Exh: California Art Club, 1923-27; Laguna Beach Art Association, 1924; California State Fair, 1926; Cannell & Chaffin Gallery (Los Angeles), 1926; Ebell Club (Los Angeles), 1926; Painters & Sculptors of Los Angeles, 1926-31; National Academy of Design, 1930; Toledo Museum, 1931; American Painters & Sculptors, Los Angeles County Museum of Art, 1931, 1937 (solo), 1946 (solo); Oakland Art Gallery, 1932; Tuesday Afternoon Club (Glendale), 1934; Golden Gate International Exhibition, 1939; California Palace Legion of

A Beautiful and important historic original oil painting by Leland Curtis from the Antarctica Expedition of 1939 - 40. The scene is of Adelaide Island at Marguerite Bay. Oil on canvas signed lower right and noted from the Antarctic Exp. A historical and beautiful painting.

Biography

Born in Denver, CO on Aug. 7, 1897, Curtis was a resident of Seattle before moving to Los Angeles in 1914. He was inspired to become an artist by his teacher Rob Wagner at Manual Arts High School. After working as a bank teller and serving in WWI, he soon was able to support himself as an illustrator. He served as official artist of the U.S. Antarctica Expedition in 1939-40 and again in 1957. About 1960 he changed his residence from Los Angeles to Twenty Nine Palms, California, with summers in Moose, Wyoming. An avid mountain climber, his studio in the Grand Tetons was a rustic log cabin. In 1972 he moved to Carson City, Nevada, where he remained until his demise on March 17, 1989. He is best known for his landscapes of the High Sierra, Grand Tetons, and Antarctica. His works won dozens of medals and prizes from the early 1920s in southern California shows. Member: Carmel Art Association; Artland Club. Exh: California Art Club, 1923-27; Laguna Beach Art Association, 1924; California State Fair, 1926; Cannell & Chaffin Gallery (Los Angeles), 1926; Ebell Club (Los Angeles), 1926; Painters & Sculptors of Los Angeles, 1926-31; National Academy of Design, 1930; Toledo Museum, 1931; American Painters & Sculptors, Los Angeles County Museum of Art, 1931, 1937 (solo), 1946 (solo); Oakland Art Gallery, 1932; Tuesday Afternoon Club (Glendale), 1934; Golden Gate International Exhibition, 1939; California Palace Legion of

Pair of original hand colored horse lithographs from "Professor Low's Illustrations of the Breeds of the Domestic Animals London, 1840" . Drawn by Mr. Nicholson, R.S.A. from a painting by Mr. Shiels, R.S.A. Drawn on stone & printed by Fairland. Published by Longman, Orme, Brown , Green & Longmans, Paternoster Row, London 1840. Presented framed and matted in quality vintage burl wood frames. Measuring 12.5 x 17 inches, matte window 10" x 13" overall framed size 18" x 24" Low was a professor of agriculture at Edinburgh University who also set up an agricultural museum in Edinburgh with the assistance of a grant from Earl Spencer. William Shiels, member of the Royal Scottish Academy, was commissioned to produce a series of paintings of all the significant breeds then of economic significance in Great Britain. These paintings were then used as the basis for the present work with the addition of Low's text. Shiels' work is appreciated today for its faithfulness to the actual appearance of the animals, as opposed to idealized versions meant to please their owners, which were common at the time. William Nicholson, also a Royal Scottish Academy member, made the drawings after Shiels' paintings to convert them to prints.

Original vintage expressionist etching print titled "Garden of no Tomorrows" numbered9/15 signed titled circa 1964 by Sylvia T Gavurin. Printed on quality wove paper archival matted and framed in a contemporary gold frame overall size 25ʺW × 1ʺD × 19ʺH Sylvia T Gavurin (1911 - 2002) was a Los Angeles based artist best known for her printmaking she showed in local exhibits her work is held in several private collections. In the 1940s Sylvia Gavurin was a court stenogrepher for the military. She was assigned to record the trials at Dachau Germany. This had a profound affect on her life and was a influence in her art work. This is an example of her work expressing the holocaust.

Antique American running horse gold gilt copper body weathervane, a beautiful example with great lines and form in typical antique condition with some wear denting and bullet holes. Mounted on a black painted wood display stand measuring approx. overall length 29 inches. A fine piece would make a great decorative accent piece for any interior antique or modern.