Catalog (165)

Beautiful English walnut lowboy with elaborate decorative inlay. Three herringbone inlaid, cross-banded drawers with brass hardware, and a compass rose inlaid top over elegant Queen Anne legs. 33" L x 22" W x 30" H Please inquire about shipping costs.

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.

Antique 19th Century Italian watercolor painting in the Baroque style of a mountainous landscape with a stone bridge over a river. Presented in cream colored matting and a silver gold wood frame. Image size: 14" x 19", overall dimensions: 20.5" x 24.5".

Post impressionist oil painting of a partial nude in blue tones. Reminiscent of Picasso's Blue Period. Signed lower right and presented in original dark wood frame with white insert. Masonite panel measures 20 x 30 inches.

Beautiful original antique oil painting of a mountain sunset and waterfall by William Keith c.1890 oil on artist panel signed lower left. Presented in a quality contemporary gallery frame 16.5ʺW × 3ʺD × 19ʺH. Good antique condition very fine age craquelure very minor touch ups.. Biography: A native of Scotland, William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco and hung in many foyers and dining rooms in their elegant homes. He completed thousands of paintings and drawings, and many of them were lost in his studio in the fire of 1906. His early works are dramatic mountainscapes in a realistic style adopted from the Dusseldorf School of Germany. The paintings of the last two decades of his life are looser and obviously influenced by his exposure in France to the Barbizon School of landscape painters, who were the first colony of painters to complete paintings "en plein air," or directly from nature rather than in studios. A forerunner of Impressionism, this style also included Tonalism espoused by Barbizon painter Camille Corot [1796-1875] and also apparent in Keith's later works, which are darker, smaller, and much more intimate with emphasis on mood. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. By the early 1900s, Keith was likely one of the wealthiest artists in the United States and certainly earned the most money of any California-based artist. People from all over the world sought out his studio where it was said that he would specially select a painting for a client from behind a black velvet curtain, order everyone to be quiet, part the curtains, and set the work on a easel, flooded in light. It was unthinkable not to buy a painting on these occasions. Many of his paintings were shown in New York at the Macbeth Gallery, and in 1898, he had a special exhibition in New York. Keith died April 13, 1911, and his work is in most of the institutions representing major California artists

A original abstract expressionist oil painting on canvas signed lower left dated 1984 and on verso by Ken Stabler. Canvas size22 x 28" overall framed size 23 x 29 presented in a gallery frame ready to hang. A beautiful detailed painting in soft pastel colors

A vintage 1965 Fender Mustang guitar all original in very good condition with original case. Some minor scratches and wear. Plays great sounds great a classic instrument.

Oil painting Madonna of the Finch after Raphael. An 18th century old master copy of the great masterpiece by Raphael. Presented in a fine hand carved 24K gold leafed antique frame. Image 25.5"L x 18.5"W. Overall framed size 34 x 28".

A Beauriful vintage American Impressionist oil painting of a wooded fall landscape by Harry Leslie Hoffman. Oil on artist canvas presented in a quality gallery frame stamped with the artists estate stamp on verso and titled Old Lyme. Oil on canvas board measuring 12 x 16" overall size 18ʺW × 1ʺD × 22ʺH. In excellent vintage condition minor restorations. Artists Biography; Harry Leslie Hoffman was born 16 March 1871 at Cressona, Pennsylvania. He was long associated with the Old Lyme Colony at Old Lyme, Connecticut, and had a reputation for American Impressionism. Hoffman studied at the Art Students League, New York City, Yale Art School, and Academie Julien, Paris. In 1902 he visited Old Lyme and for the rest of his life was associated with the Connecticut art colony. In the 1920s Hoffman accompanied the Smithsonian Institution's naturalist, William Beebe (1877-1962) to British Guiana, Galapagos Islands, and Bermuda, to document the flora and fauna of those regions. During that time he perfected a method of painting undersea vistas. Using a bucket with a glass bottom, he was able to view the aquatic life of coral reefs and shallow tidal pools. Hoffman wed the painter, Beatrice Pope, and they had an active collaboration throughout their lives. He worked in a variety of media, including watercolors, oils, and clay sculpture, and found success throughout his life. In 1915 he won a gold medal at the Panama-Pacific Exposition, San Francisco, and was awarded prizes in Connecticut for his painting and sculpture. In addition to his long painting career, Hoffman was a writer, actor, and musician. He was active in the historic preservation of the Florence Griswold House, the intellectual center of the Old Lyme Colony, as a museum. Hoffman died at Old Lyme, Connecticut, 6 March 1964.

Original antique watercolor floral botanical painting of a tulip 19th century c.1850. This lovely original watercolor is from a mid 19th century botanical watercolor album. While little is known about the work, it was clearly done by a highly skilled artist. The paper is Whatman watermarked and dated. . Presented matted with archival materials and framed.

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).

Attributed to Jozef Israels, Dutch fisherman"s wife at the beach waiting for his return. A beautiful impressionist painting oil on canvas signed lower left measuring approx. 14 x 18 inches in excellent condition. Biography

Jozef Israëls, (born January 27, 1824, Groningen, Netherlands—died August 12, 1911, The Hague), painter and etcher, often called the “Dutch Millet” (a reference to Jean-Franƈois Millet). Israëls was the leader of the Hague school of peasant genre painting, which flourished in the Netherlands between 1860 and 1900. He began his studies in Amsterdam and from 1845 to 1847 worked in Paris under the academic painters Horace Vernet and Paul Delaroche. Israëls first tried to establish himself as a painter of Romantic portraits and conventional historical pictures but had achieved little success when in 1855 ill health compelled him to leave Amsterdam for the fishing village of Zandvoort, near Haarlem. That change of scenery revolutionized his art: he turned to realistic and compassionate portrayals of the Dutch peasantry and fisherfolk (e.g., Waiting for the Herring Boats, 1875). In 1871 he moved to The Hague, and he often worked in nearby Scheveningen. Besides oils, Israëls worked in watercolours and was an etcher of the first rank. His later works in all media express a tragic sense of life and are generally treated in broad masses of light and shade. His painting style was influenced by Rembrandt’s later works, and, like Rembrandt, Israëls often painted the poor Jews of the Dutch ghettos (e.g., A Son of the Chosen People, 1889). His son Isaac (1865–1934), also a painter, adopted an Impressionist technique and subject matter and had some influence on his father’s later work.

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".

A original antique Chinese Celadon pottery jar let from the Song Dynasty (960-1279) with Chinoiserie designs under glaze. Measuring approximately 2 3/4" high and 3 3/4" 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 olive green glaze with two handles near the rim. Having this Chinese green-glaze ware in this collection may signify Chinese influence on Southeast Asian ceramics. For example, typical Sawankhalok green-glazed ware was largely influenced by Chinese green-glazed ware. The green 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).

Everett Lloyd Bryant landscape oil painting on canvas signed lower right. Measuring 28"L x 36"W. Everett Lloyd Bryant studied at the Pennsylvania Academy of the Fine Arts with Thomas Anschutz, William Merritt Chase, and Hugh Breckenridge. A member of the Baltimore Watercolor Society, Philadelphia Watercolor Club, and California Watercolor Society, Bryant exhibited at the Salons of the Societe Nationale des Beaux-Arts in Paris (1895), the Pennsylvania Academy of the Fine Arts (1904-24), Art Institute of Chicago, Panama-Pacific Expo (1915), Corcoran Gallery (1916-23), Arlington Galleries, NYC (1918), LA Art Association (1934), Golden Gate Expo, SF (1939), California Watercolor Society (1939) Baltimore Museum of Art (1946), and the Society of Independent Artists. His work is in the collection of the Pennsylvania Academy of the Fine Arts, Baltimore Museum of Art, St. Paul Art Institute and Los Angeles County Museum of Art. Provenance great grandson of the artist. Condition: Excellent original antique condition.

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.

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.

Fine Gibson L 5s solid body electric guitar. Excellent playing condition. A 1970s era guitar one of the finest instruments gibson produced.

Original Vintage French Nude Female Drawing by Aristide Maillol (1861 - 1944) Pastel Pencil Conte Crayon on paper signed lower right with the artists monogram as was typical of his drawings. Presented matted and framed in a quality gallery gold gilt frame. Drawing measuring sight 7.5" x 13.5" overall framed size 14.5" x 20". Aristide Maillol (1861 - 1944) was active/lived in France. Aristide Maillol is known for Female figure drawing, sculpture, painting, woodcut illustration. Aristide Maillol was born in Banyuls, France in 1861. Maillol's early career was spent mainly as a tapestry designer, but he also painted. In 1881, Aristide Maillol moved to Paris, where he first attended a drawing course at the École des Beaux-Arts as a student of the painter and sculptor Jean-Léon Gérôme. In the meantime, he took classes in sculpture at the arts college, before returning to the Academy, where he remained until 1893. Maillol's recognition as a sculptor grew only gradually, forcing him to earn his livelihood with the restoration of stucco work. Success ensued after an exhibition in 1902, in which Ambroise Vollard presented 33 of Maillol’s works. Two years later, he was included in a publication by Julius Meier-Graefe and made the acquaintance of his most important patron, the German art collector Harry Graf Kessler, with whom he traveled on several occasions and executed important commissions. In 1913, Maillol had his first exhibition abroad, in Rotterdam. This was followed by exhibitions at the Armory Show in New York and later at the Berlin gallery of Alfred Flechtheim, the Kunsthalle Basel, and the Petit Palais in Paris on the occasion of the World Exhibition in Paris. Maillol initially devoted himself to painting, was a member of the Nabis group, and created tapestries. From the mid-1890s on, he created primarily sculptures in plaster, wood, and bronze. The main theme of his sculptural oeuvre is the female body. Today Maillol's works can be found at the Hermitage in St. Petersburg, the Musée d'Orsay in Paris, the Museum of Modern Art in New York, and the Neue Pinakothek in Munich.

An original American impressionist landscape of a rural home on a river by Edward Redfield. Oil on canvas measuring 20 x 24 signed lower left. In all original very good antique condition with the original frame. Edward Redfield is regarded as the premier painter of the New Hope School of American Impressionism, and, in his time, was considered one of the best landscape painters in the country. He was born in 1869 in Bridgeville, Delaware, and moved to Center Bridge, near New Hope, Pennsylvania in 1898. His presence in Bucks County was enough to lure many younger artists to the region, making it an epicenter for the American Impressionist movement. Redfield attended the Pennsylvania Academy of the Fine Arts from 1885 to 1889, where he studied with Thomas Anshutz and Thomas Hovendon, and became close friends with Robert Henri. In 1889, he traveled to Paris to study in the ateliers of William Bouguereau and Tony Robert-Fleury at the Academie Julian. He then traveled around Europe until 1893, painting in France, Italy, and England. He exhibited extensively throughout the country and abroad, and won an impressive array of awards, including a Bronze Medal, Paris Exposition (1900); Bronze Medal, Pan-American Exposition (1901); Temple Medal (1903), Jennie Sesnan Gold Medal (1904), Gold Medal of Honor (1907), Lippincott Prize (1912), and Stotesbury Prize (1920), all from the Pennsylvania Academy of the Fine Arts; Silver Medal (1904), St. Louis Exposition; Fischer Prize and Gold Medal (1907) and First W.A. Clark Prize and Gold Medal (1908) from the Corcoran Art Gallery, Washington, D.C.; Honorable Mention (1908) and Third Class Medal (1909), Paris Salon; Palmer Gold Medal (1913), Chicago Art Institute; Hors Concous Prize (1915), Panama-Pacific Exposition in San Francisco; Carnegie Prize (1918), Altman Prize (1919), amd Saltus Medal (1927), National Academy of Design. Redfield is best known for his exuberant spring and winter landscape scenes of the Bucks County region. His paintings are included in the most prominent museums and public collections throughout the country, such as the Boston Museum of Art, the Brooklyn Art Institute, the Carnegie Institute, the Chicago Art Institute, the Corcoran Gallery, the Los Angeles Museum, the Metropolitan Museum of Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, and the Philadelphia Museum of Art. Edward Redfield died in 1965 in Center Bridge, Pennsylvania

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

Modernist landscape Marsh series #1 by Ernest Garthwaite. Acrylic on paper measuring 22"w x 30"H.

Biography

Ernest Garthwaite was born in Saskatoon, Saskatchewan in 1940. He studied at Loras College in Iowa, receiving his Bachelor of Arts in 1961, and at the University of Notre Dame in Indiana, receiving his Master of Arts in 1962. He subsequently studied in Europe (including in Italy, Germany, and France) and at the University of Wisconsin in 1964 and the Art Students' League of New York in 1966. Garthwaite's work is represented in over 75 collections, including the Medicine Hat Museum and Art Gallery, New Rochelle Public Library, Art Gallery of Windsor, Bank of Montreal, Concordia University (Montreal), Marymount College (New York), Whyte Museum of the Canadian Rockies (Banff), and York College of the City University of New York.

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.

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

An original vintage Chinese ink painting of a Running Horse in the manner of Xu Beihong signed to the center right. Ink on a mottled colored paper presented matted and in a thin wood frame. Overall framed size 16.5" W x 23.5" H x 1.0" D. In good condition minor surface wear and very light crease to the paper. The most influential Chinese artist and art educator in twentieth-century China, Xu Beihong is widely known as the father of modern Chinese painting. Born into a poor family in 1895 in Yixing, Jiangsu Province, he learned Chinese classics and traditional Chinese painting from his father, a self-taught artist. Xu Beihong gained a government scholarship to study in France and attended the École Nationale Supérieure des Beaux Arts. Between 1919 and 1927, he studied sketching and oil painting in France, Germany, Belgium, Italy, and Switzerland. Returning to China in 1927, he successfully integrated Western painting methods and techniques with traditional Chinese painting in order to develop Chinese painting. He demonstrated two fundamental ways to improve Chinese painting: “focusing on human activities” and rejuvenating the tradition of “learning from nature.” His creative work and extensive teaching offered a new direction for Chinese artists and art educators. He was the first to systematically incorporate high-standard Western sketching from life and oil painting into the curricula at China’s major art institutions. From 1927 until his death in 1953, Xu Beihong trained several generations of students. Many became accomplished artists and leading art educators who have continued to influence Chinese art in the twenty-first century. Since 1954, more than 1200 of his original drawings, sketches, oils, and Chinese ink brush paintings have been kept and displayed by the Xu Beihong Memorial Museum in Beijing.

19th Century pastoral landscape oil on canvas. Golden age, old master influenced painting depicting a shepherd with his sheep and a cottage. Signed Wayland, lower right. Wax Relined and presented in an intentionally distressed gold wood frame. Image size, 16 x 20 overall framed size 24.5ʺW × 2.5ʺD × 20.5ʺH.

Original vintage Mid Century modern Italian artist sculpture by Egidio Casagrande A large pierced brass wall hanging plaque of a Mandala or Sun made of solid brass. Truly is a work of art. Hand-pierced and embossed with fine elaborate floral and geometric designs with relief and raised patterns. Stamped Egidio Casagrande Italia Borgo Trento numbered, 2. Made in the Moorish influence or style made in Italy c.1950. In excellent vintage condition with dark rich patina. Measuring 36.5 in diameter a classic piece of Italian Mid Century design.

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.

Antique East Asian Bronze Standing Buddha measuring an impressive 7.0" W x 28.0" H x 9.0" D . This superb sculpture depicts the Buddha meditating with his hands in the Abhaya mudra of dispelling fear. Abhaya is translated from Sanskrit as fearlessness. It is made with the open palm of the right hand extending outwards at the chest level or slightly higher. The condition is consistent with a dating from the 19th century it would make a superb addition to any collection of Asian antiques, Buddhist objects or art related to Buddhism. The original Buddha, Sakyamuni Gautama, or Gautama Siddhartha, was born in India in the 5th-6th century B.C. He was born into a noble family, but left this life to lead the life of a wandering ascetic and thinker. Reflecting on the human condition one night while sitting under a Bodi tree, he awoke to find he had realized nirvana, the state of absolute beatitude, and would not be reborn again. He traveled the land, meditated, gained wisdom, and along the way realized impermanence was an undeniable, inescapable fact of life. The rest of his life was spent as a preacher, his teachings contained in a series of documents called the Sutras.

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.

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.

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.

English 19th century burl walnut highboy in 18th C Georgian style. Elegant queen Anne carved legs on the base. Cross banded drawers and pullout lined folding shelf or press. Hand made brass pulls dove tail construction some 20th century refurbishing to drawer runners.

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.

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.

Vintage mid century original oil painting a portrait of a thoroughbred race horse signed lower left. Presented in a quality gallery frame. The oil painting on canvas board measures 9" x 12" overall framed size 17.5 x 22.5".