Catalog (164)

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.

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.

Original antique Arts and Crafts era mission style hammered Iron fire screen c.1930. A classic design in excellent antique condition. From a Palo Alto California craftsman bungalow built c.1920. Measurements are the center screen is 36" wide and 31" high the end panels measure 15" wide and 31" high so opened completely the size is 66" wide and 31" high. The height to the top of the handles is 34".

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.

A fine original modernist bronze by Heriberto Juárez signed edition # 6 of 100 measuring overall approximately 11 inches tall in excellent condition a beautiful work of art by this Mexican master. Biography

Heriberto Juárez was born in San Juan Teotihuacan, State of Mexico, and it was precisely there, land of pyramid builders and legendary sculptors, where he took his first lessons on artistic pottery, sculpture and drawing which helped him acquire the knowledge and skills he materializes in his work perform on chromium plated iron and tin, onyx, marble, bronze... The quality, strength, expressive ability and good taste found in his work have taken him through important galleries and museums around the world and have made him worthy of recognition as one of the prominent artists who have collaborated most different cultural fields in Mexico. In addition to the fertile production of sculptural pieces Juárez Castañeda's work includes drawing, construction of monuments and to a lease degree but with the same qualities, panting. In these regards, Berta Taracen, whose opinion is acknowledged in the artistic space says: "His historical-humanistic tendency, in agreement with the society it serves, does not resign to topical and futuristic categories, but enhances the message and content of perfect technics, considering that technology, in the widest sense of the word, is the central problem of this age and praxis of the actions of modern man; having as a result a Juárez who is characteristically a Mexican artist, who makes of his technics and craftsmanship part of the historical and spiritual order without rendering them obsolete". A highlighted part of his work and probably the most widespread is constituted by his pieces, in different materials, on bullfight subjects; magical and sometimes cryptical world which he deeply knows, due to his experience as a bullfighter while he was a young man. Along his already broad trajectory, Heriberto Juárez has been chosen to represent Mexican Art in shows, exhibitions and events of the highest world level. He has been granted scholarships to enrich his already vast knowledge of technics and artistic avant gard concepts. He has been selected to construct important monuments in the national and international ambits as well...

A beautiful antique original American tonalist landscape painting. Oil on academy panel circa 1900 unsigned presented in the original carved gilt wood frame. Measuring overall 17.5" W x 14.5" H x 1.5" the panel measures 9" x 12".

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".

Harriet W. Frishmuth (American, 1880-1980), titled Crest of the Wave, signed and dated 1925 on bronze base and with QFHL stamp and Gorham Co Founders foundry mark on bronze base; ht. 21.5, wd. 5, dp. 5 in. In excellent condition with a beautiful original patina.

Harriet Whitney Frishmuth was born on September 17, 1880 in Philadelphia, Pennsylvania. A student of such renowned artists as Auguste Rodin and Gutzon Borglum, Frishmuth's reputation and career grew steadily throughout the first several decades of the twentieth century, with exhibitions at the National Academy of Design, the Academy of Fine Arts in Philadelphia, the Salon in Paris, the Golden Gate International Exposition (1939-1940) and the National Association of Women Painters and Sculptors. Her favorite models were dancers, especially Desha Delteil - immortalized in Frishmuth's most famous work, The Vine - a model particularly popular with artists for her ability to hold difficult poses for long periods of time. The final exhibits of Frishmuth's work took place in New York City in 1929, but she remained active in the art world for many years following. Frishmuth passed away in 1980 at the age of 99. A proponent of the Beaux Arts style - Frishmuth was exceptionally critical of modern art, often calling it "spiritless" - her works can now be seen in some of the world's leading museums and collections, including the Metropolitan Museum of Art in New York City, the Dallas Museum of Art, and Ohio University's Kennedy Museum of Art.

Original impressionist oil on panel by Paul Hagemans. He was born in Antwerp in 1884, the son of the celebrated landscape painter Maurice Hagemans. He received early artistic instruction from his father but at the age of fifteen enrolled at the Academy of Antwerp. Here he was fortunate enough to be tutored by one of the most important landscape painters of nineteenth century Belgium, Isidore Verheyden as well as receiving classes in figure painting from Herman Richir. Graduating in 1906 he established a studio in Antwerp and commenced painting the portraits, figure pieces, landscapes and still-lifes for which he is now celebrated. His early career was spent painting a number of large murals as well as designing stained-glass windows for both ecclesiastical and secular purposes. Although much in demand during this early part of his career it was not until after WWI that his work was fully appreciated by the public and critics of Belgium. By the early 1920’s he had fully developed his unique style of painting, one that utilized a thick impasto and a ‘Luministe’ color palette. Hagemans was to exhibit his work at all of the major Belgian art institutions as well as private galleries too numerous to list. Measuring 24 x 28 in excellent condition.

A beautiful California impressionist landscape oil on board signed lower left Gile, Bold brush work and beautiful palette a true gem by this highly regarded American artist. In excellent condition Measuring 10 x 12.5 framed in a quality hand carved 24k gold frame 17.5 x 20.5 inches overall Appraised by John Moran at $10,000 to 15,000. a fine investment quality painting. Biography

Selden Connor Gile was an important member of the early northern California school of art, he was a founding member of the artist group that called themselves the Society of Six. He was born in Stow, Maine on March 20, 1877, and after attending business college in Maine, Gile moved to California in 1901. He was a payroll master in Lincoln and in Oakland after 1905 for Gladding McBean Company. His art studies were under Perham Nahl, Frank Van Sloun, Spencer Macky, William H. Clapp, and at the California College of Arts and Crafts. Prior to 1914, he painted in the manner of classical California landscape painters such as William Keith. After that time he assumed the palette and style of Impressionism-Fauvism, but remained an "individualist" in his mode of expressing the California scene. During the 1920s, he became the dominant figure in a group of painters known as the Society of Six. The Six were active in the San Francisco Bay area and exhibited regularly at the Oakland Art Gallery. In 1927 Gile moved across the Golden Gate to Tiburon and, shortly thereafter, to a houseboat in Belvedere. He died in San Rafael, California on June 8, 1947.

Original vintage modernist abstract painting of books by Barry Nemett oil on canvas signed lower right and dated 1971. Presented in a natural oak wood frame. Measures 19ʺW × 1.5ʺD × 49ʺH in good condition minor touch ups. Biography: Barry Nemett, Chair of the Painting Department at Maryland Institute College of Art, studied at the Skowhegan School of Painting and Sculpture, received his BFA at Pratt Institute and his MFA at Yale University. His awards include The Hugh Fraser Foundation, Ford Foundation Grant, MICA Trustee Grant for Excellence in Teaching, Maryland State Arts Council Individual Fellowship Grant, ITT International Travel Fellowship/Fulbright Hays Grant, Ely Harwood Schless Award for Excellence in Drawing and Painting at Yale University, Faculty Enrichment Grant, and the Berkeley T. Rulon Miller Award. Prof. Nemett has curated numerous traveling exhibitions, and has exhibited his own work at the National Academy Museum, Museum of Art, Rochefort-en-Terre, France, Aichi Prefectural Museum of Art, Japan, Baltimore Museum of Art, Delaware Museum of Art, Institute of International Education, Washington County Museum of Art, Andre Zarre Gallery, Atlanta College of Art, Goucher College, Indiana University, Loyola College, New Jersey State Museum, University of North Carolina, Pratt Institute, St. John's University, University of Maryland, University of New Hampshire, University of Pennsylvania, Wellesley College, College of William and Mary, and Yale University.

A beautiful rare antique French Gilt Bronze Dore bust of a young woman by Jean-Baptiste Greuze Paris circa 1799. Dor'e or bronze finish signed on reverse on a marble base. Dimensions 4ʺW × 2.5ʺD × 6.5ʺH in good antique condition minor imperfections commensurate of age. Biography; An 18th-century artist of melodramatic genre, morality lessons, female figures and portraits whose subjects included Mozart and Benjamin Franklin, Jean-Baptiste Greuze was born in the Burgundy region of France. He spent most of his career in Paris, where he was mentored by a portrait artist from Lyon named Grandon (Grondom). This artist was an advocate for the young Greuze, whose father had discouraged him from following his art talents. In Paris, Greuze worked from the live model at the Royal Academy. Gradually his work attracted the attention of members of the nobility such as the family of Madame d'Epinay, a French writer whose love affairs included Jean-Jacques Rousseau and Denis Diderot. In 1755, Greuze's painting, Father Reading the Bible, was judged accomplished enough to merit much encouragement from Academicians. That same year, he went to Italy with Abbé Louis Gougenot, who had influence among fine art professionals, which led to Greuze being elected him an honorary member of the Royal Academy in Italy because of his accomplishments in allegory and mythology. However, he was not encouraged by the exposure he got in Italy, and returned to Paris in search of better training for portraiture, genre and figure work. Beginning in the late 1850s, he received increasing accolades for his painting, which influenced by Rousseau, was getting increasingly naturalistic. By 1765, he had reached a great high point with the exhibition of thirteen paintings at the Academy's Salon. However, members gave him a tough time because they demanded that he show them a diploma from an accredited art institution, something he did not have. The Academy finally received him as a new member with all honours but as a genre painter, meaning he was not officially recognized for his portraits or history canvases. In 1769, Salon organizers rejected his painting, Septimius Severus Reproaching Caracalla, and Greuze was so angered that he did not exhibit again until 1804, when the Academy was much less rigid because of the Revolution breaking down aristocratic barriers. However, by that time his subjects and Neo-Classical style had waned in popularity. The next year, 1805, Jean-Baptiste Greuze died in the Louvre. He was impoverished, having been wealthy but having squandered his fortune and also losing money to an embezelling wife. During his last years, he was desperate for commissions but diminished in talent, which meant that much of his late work was lacking in the quality for which he had been known. One of his last paintings was an 1804 portrait of Napolean Bonaparte. Greuze left many paintings, many which are in the Louvre as well as the Wallace Collection in London, the Musée Fabre in Montpellier and a museum dedicated to him in his hometown of Tournus.

Fine Early 19th Century New England area Hepplewhite style Federal sideboard. Mahogany veneer with what appears to be chestnut secondary wood. Exquisite gilt brass rosette pulls, notched cross banding inlay, reeded columns with turned legs, and a unique & quite large bin like center drawer flanked by a cabinet door to the left and a large drawer to the right, as well as 3 standard drawers. An exceptional and timeless sideboard, in traditional early American taste.

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".

A beautiful pair of original 19th century antique oil paintings in the manner of George Henry Harlow renowned British portrait painter, 1787-1819]. Both Oil on canvas framed in later vintage gold frames. Both paintings have been professionally restored relined cleaned and re varnished. DIMENSIONS 8.5ʺW × 1.5ʺD × 10.5ʺH

A rare color lithograph by Wayne Thiebaud titled Coronado signed, numbered 5 of 15 and dated 1956. overall sheet size 16 x25 12.5 x 21.5 inches. A beautiful colorful modernist image of sail boats off the San Diego coast with the old Coranado Hotel in the left of the image. A very scarce print in excellent condition some slight discoloration from a previous matte.

Biography

A painter of pop-art realism combined with a great respect for traditional methods and subject matter, Wayne Thiebaud is one of the most prominent of the Bay Area painters in California in the latter part of the 20th century. His reputation spread far beyond his own state. In his painting, he focuses on the commonplace in a way that suggests irony and objective distance from his subjects. He also makes a point of keeping an independent distance from the New York art scene. He was born in Mesa, Arizona, in 1920, and for one summer during his high school years he apprenticed at the Walt Disney Studio and then studied at an Los Angeles trade school the next summer. He earned a degree from Sacramento State College in 1941. From 1938 to 1949, he worked as a cartoonist and designer in California and New York and served as an artist in the United States Army. In 1950, at the age of thirty, he enrolled in Sacramento State where he earned a Master's Degree in 1952 and began teaching at Sacramento City College. In 1960, he became assistant professor at the University of California, Davis, where he remained through the 1970s and influenced numerous artist students. However, he did not have much following among Conceptualists because of his adherence to basically traditional disciplines, emphasis on hard work rather than creativity, and love of realism. On a leave of absence, he spent time in New York City where he became friends with Willem De Kooning and Franz Kline and was much influenced by these abstractionists as well as Pop Artists Robert Rauschenberg and Jasper Johns. During this time, he began a series of very small paintings based on images of food displayed in windows, and he focused on their basic shapes. Returning to California, he pursued this subject matter and style, isolating triangles, circles, squares, etc. He also co-founded the Artists Cooperative gallery, now Artists Contemporary Gallery, and other cooperatives including Pond Farm, having been exposed to the concept of cooperatives in New York. In 1960, he had his first one-man shows in San Francisco at the Museum of Art and New York at the Staempfli and Tanager galleries. These shows received little notice, but two years later, a 1962 New York Sidney Janis Gallery exhibition officially launching Pop Art, brought him national recognition although he disclaimed being anything other than a painter of illusionistic form. In 1963, he turned increasingly to figure painting, wooden and rigid with each detail sharply emphasized; in 1967 his work was shown at the Biennale Internationale, and in 1985, he was elected to the American Academy and Institute of Arts and Letters.

The Frugal Repas by Pablo Picasso from the edition of 1913 on arches paper trimmed with .5 inch margins a fine impression of this most famous of prints. Plate size 18 1/4 x 14 7/8 in. (46.4 x 37.8 cm) . A fine addition to any collection framed and archival matted in a fine gallery presentation frame.

A beautiful antique oil painting of a Girl in a bonnet Holding a Flower Basket. Early 19th century English oil on canvas in original antique frame. Overall size 32ʺW × 2ʺD × 41ʺH in good antique condition minor imperfections commensurate of age.