Refine search resultsSkip to search results
China. This collection includes a pair of three-tiered red lacquered wedding baskets, four transom wood carvings, a two-drawer wooden box, a hanging mirror behind wooden doors, a three-drawer vanity chest with fold-up mirror, two rosewood brush holders inlaid with jade, and a carved wooden Foo (also spelled Fu) dog. The two-drawer box might have been used for pet crickets as one drawer is ventilated on both sides. Foo dogs are actually lions. They resemble the Chow Chow and Shih Tzu breeds, hence the English misnomer of Foo dog. A pair of male and female stylized lions guarded the entrance of palaces, temples and homes of the elite. The male holds a ball; the female, a cub. The Foo dog in this lot appears to have earned his keep holding down the fort (see images for details of damage and imperfections). Each basket: w 16.25 in x h 23.75. Four transom carvings: 3 in x 28 in, 4.5 in x 32.75 in, 4 in x 32.5 in, 4 in x 32.5 in, 4.75 in x 26.5 in; two-drawer box: w 5 in x h 7 x d 9.5 in. Hanging mirror: w 8 in x h 10.75 in x d 0.75. Vanity chest: w 9.75 x h 7 in x 12”L. Each brush holder: w 3.75 in x h 6 in. Foo dog: w 4 in x h 10.5 in x d 5.5 in.
Japan. A pair of two Japanese fan paintings dating to the Edo period (1603-1868). The first painting depicts a woman gesturing to a man seated on green tatami with three women watching from outside. The second painting depicts a man speaking to three other men seated around him by a river. A fabric screen gives them some privacy while a man and woman wait by the speaker’s jinrikisha. Much of the surfaces on both paintings are covered in gold leaf. These paintings were not made into fans so there are no creases. Each painting is taped to brown mat board. These paintings are not framed and are not signed. Both good to very good. First painting has a 1” closed tear to gold leaf at top left edge. Second painting has moderate pigment loss throughout the painting. Both paintings are on stiff paper with another layer of paper glued to the verso. Dimensions : Each painting: w 20.5 in x h 10 in.
Six chargers, each of which display similar scenes with common elements of house, water, mountains, figure. All are painted in deep blue tones. All very good with no significant issues. Dimensions: Various. Diameters are 14.5in, 14 7/8 in, 15.5 in, 16 in, 18 in, and 18 in. Heights range from 2 in to 2.5 in.
1645. An original print by Rembrandt van Rijn, bearing the artist’s name and the year 1645 in the lower right corner. This print appears to be a printing of the second state, as the hat of the figure closer to the viewer is shaded, but the hat of the figure farther from the viewer is not. Condition: excellent. Dimensions w 8.74 in x h 5 1/8 in.
A signed abstract watercolor by Italian painter Afro Libio Basaldella (1912-1976), known as Afro. Signed “Afro” in lower right corner. Condition: very good. Minor denting and creasing to edges of painting, not impacting images. The edges of the sheet are unevenly trimmed. Slight marking to mat. Matted but not framed. Dimensions mat w 16 in x h 12 in sheet w 11 7/8 in x h 9 1/8 in.
A signed abstract painting by Sonia Delaunay-Terk (1885-1979), a Ukrainian-born Russian artist, who played an influential role in the avant-garde movement in Paris. Condition: very good. Some age-toning visible on reverse of painting. Signature and gallery stamp on reverse. Matted but not framed. Dimensions mat w 15.75 in x h 12 3/8 in sheet w 12 3/8 in x h 8.75 in.
A watercolor on paper by Béla Kádár (1887-1956). An influential Hungarian avant-garde artist, Kádár was influenced by both contemporary artistic movements, including Cubism and Futurism, and Hungarian legends. Condition: very good; some age-toning to paper and mat. Matted but not framed. Dimensions mat w 10.75 in x h 12 in sheet w 4 7/8 in x h 5.5 in.
A signed original drawing by French artist Aristide Maillol. Maillol (1861-1944) was accepted into the Ecole des beaux-arts in 1885, where he studied under several notable painters. He subsequently joined Les Nabis, a group of young French artists, at the recommendation of Gauguin, and began working in tapestry. Failing eyesight prompted him to focus increasingly on sculpture, particularly representations of female nude figures, though he periodically explored two-dimensional media as well. Condition: good to very good. Minor chipping and closed tears to edges of sheet, none of which impact the image. Signed in lower right corner. Dimensions mat w 13.75 in x h 16 7/8 in sheet w 9 3/8 in x h 13 3/8 in.
A signed pencil sketch by Serge Ferat. Ferat (1881-1958) was born in Moscow, the son of a member of the Russian aristocracy. As a young man he moved to Paris, where he began painting in the cubist style. He was friends with many of the most prominent artists of his day, including Picasso and Apollinaire. Condition: very good. Light, even age toning. Matted but not framed. Dimensions mat w 14 in x h 11 in sheet w 8 in x h 5.75 in.
An abstract watercolor by Mikhail Tarkhanov (1888-1962). Takharov was a Russian/Soviet painter who worked for various Soviet institutions, pursuing his interest in the avant-garde in secret following the 1930s ban of abstract art in the Soviet Union. Condition: very good. Edges are torn somewhat unevenly, but this appears to be original to the piece. Dimensions mat w 15.75 in x h 12.75 in sheet w 14 in x h 10.25 in.
A self portrait of Austrian artist Oskar Kokoschka in ink on paper, initialed in the lower right corner. Matted and framed; not examined out of frame. Condition: very good. Some separation at the corners of the frame, and some loss of material to corners, edges, and raised portions of frame. Dimensions frame w 10 1/8 in x h 12 in sheet w 3 5/8 in x h 5.5 in.
A pencil portrait of a woman by Hungarian artist Béla Czóbel (1883-1976), signed in the lower right corner. Born in Budapest and trained in Munich and Paris, Czóbel joined an artistic group known as The Eight, who played a key role in introducing new artistic styles into Hungarian art circles. Condition: very good, with some even age toning. Dimensions sheet w 9.75 in x h 13.25in.
A signed print of the etching Enterrement d’un marin à Villerville (Burial of a Marine, Villerville) by Ulysse Butin, 1878. Butin (1838-1880) was a French artist based in Paris who was known for paintings and etchings. Condition: good to very good. Some age toning and light marking to the image itself; the mat has further marking and some creases. Matted but not framed. Dimensions mat w 14.25 in x h 16 3/8 in sheet w 7 in x h 9 7/8 in.
An etching by Alfred Robaut based on the work of Eugene Delacroix, depicting a lion with a skull. Condition: good. Age toning and age spots; a raised stamp in the lower right corner identifies this print as the work of Robaut based on Delacroix. Matted and framed; not examined out of frame. Dimensions frame: w 11.5 in x h 9 5/8 in.
A brightly colored pastel on paper depicting a clown. Signed “Joan Erbe” in the lower right corner. Condition: very good to excellent. No apparent damage to artwork; the frame shows a few minor scratches and small dark patches. Matted and framed; not examined out of frame. Dimensions frame w 15.25 in x h 17.5 in image w 8.5 in x h 10.75 in.
1910. SEPTEMBER 24 1910. The artist’s name appears inside the lower border of the image. Printed below the image lower left is “VOL XLVI NO 1” and lower right “SEPTEMBER 24 1910” with a “27” in the extreme right corner. The magazine’s title “Collier’s The National Weekly” largely obscured by Parrish’s bookish clown speaks to the magazine’s foothold in early 20th-century popular culture. From 1904 to 1910, Parrish was under exclusive contract to Collier's, which published his famed Arabian Nights paintings in 1906-07. Condition: fine. Matted and framed; the frame is moderately scuffed. Dimensions image dimensions: w 10.75 in x h 15 in.
1797. An engraving by French artist Jacques Philippe Levilly (active 1780-1800). Condition: good. Light age toning and some age spots; several small closed tears and holes in margins. Several small creases around the edges and one faint central crease. Some faint water staining to right edge, particularly in margin. Matted but not framed. Dimensions mat w 19 5/8 in x h 17 5/8 in print w 15.25 in x h 13.25 in.
Maryland: 2013. A small original oil painting on board by Calvin Edward Ramsburg. Condition: very good. Very minor light scratching visible when viewed from the edge; this is not noticeable when the painting is viewed “straight on”. The frame does not include glass; not examined out of frame. Dimensions frame w 9.75 in x h 9.75 in painting w 8.5 in x h 8.5 in.
c 1700s. A pair of hand-colored engravings shows the original quadrangle of Jesus College above the second quadrangle ornamented with Dutch gables. Robed faculty and students stroll across the quadrangles. A capital letter marks the corners of each courtyard. Condition: very good with no apparent issues. Matted and framed; not examined out of frame. Dimensions : visible paper: w 18 in x h 18 in.
1675. An engraving by David Loggan (1634-1692) showing the not-yet-completed second quadrangle extending behind the college’s original quadrangle. The second quadrangle was built sometime between 1640 and 1713. Text in Latin about the college is printed in the lower margin. Capital letters appear throughout the engraving. Condition: A light brown ½” vertical band follows a light central crease (see two images). The engraving is attached to an age-toned mat, which is glued at the edges to an artist’s board. Dimensions plate w 15.75 in x h 11.5 in.
1929. A signed, numbered (28/30), and dated (1929) print by American artist Richard R. Beatty (1899-1961). Condition: good to very good. Some age toning, particularly noticeable at the border created by the edge of the mat. Matted and framed; not examined out of frame. Dimensions frame w 17.5 in x h 14 5/8 in image w 9 3/8 in x h 7.75 in.
Sebastien Phillipe, 1627. An etching by Jacques Callot entitled “Entrée de Monsieur de Couvonge et de Monsieur de Chalabre.” This etching is from “Le Combat a la Barrière” by Henri Humbert and was printed by Sebastien Phillipe in 1627. It depicts a lively procession of dancing and flying spirits accompanied by a dragon and griffin. The Metropolitan Museum of Art and the Rhode Island School of Design Museum have this etching as part of their permanent collections. Condition: very good though age toned. A small number “4” is written in ink in the lower margin not affecting the image. The etching is affixed on the verso with archival tape to paper with a 9 ½” x 6” opening (see image). It is signed in plate lower right “Jac. Callot In. et F”. Dimensions w 9.5 in x h 6 in.
c. early 1600s. The first page of the Dominica IV post Pentecosten in Gregorian notation on vellum from an early 17th-century manuscript. Condition: good. Several apparently much later alterations and additions of the reverse of the sheet which are faintly visible from the front. Dimensions vellum: w 15.5 in x h 22.75 in mat w 18 in x h 28 in.
London: 1776. Suite of eight framed Richard Earlom mezzotints from Liber Veritatis. The following numbered plates are included in this lot: 133,142, 143, 144, 148, 167, 171 and 185. Each is signed “R Earlom Fecit” in plate at the lower right; at the lower left is printed “Claude le Lorrain delin”; printed between these is the plate number, publication month and day followed by “1776 John Boydell Engraver in Cheapside”. Condition: Fine, though these prints have not been examined out of their frames. Dimensions Plate impressions: w 10 1/8 in x h 8 in frame: w 18 in x h 15.75 in.
1970. This scarce lithograph was created by Edna Andrade (1917-2008) for the first celebration of Earth Day in 1970. It is signed and hand-numbered 48/200 by the artist at the lower left below her AE logo. Condition: very good. Some fading from labels and frame in upper right corner. Minimal bumping and a 1 ½” horizontal crease along lower right edge. Minimal rubbing to lower left edge. Dimensions w 24 in x h 36 in.
A small oval original illustration of Venus and Cupid in white and black on a sepia ground. Pierre-Paul Prud’hon (1758-1823) was born in Burgundy and began studying painting at the age of sixteen. After working in Dijon and Paris, he spent the years of 1784-1787 in Italy, where he was influenced by the work of earlier Italian painters. On his return to France he became a supporter of the Revolution, and was later favored with commissions by Napoleon. Condition: very good; no evidence of damage. Matted and framed; not examined out of frame. Dimensions frame w 8 3/8 in x h 6 7/8 in image w 5 1/8 in x h 3 7/8 in.
An untitled and undated primitive oil painting on board by self-taught artist Clementine Hunter (1887-1988), signed with the artist's monogram on the right edge of the painting. It depicts early 20th-century plantation workers socializing and relaxing. Condition: very good. Housed in rustic wooden frame without glass. A Nantucket art gallery stamp on verso. Dimensions Painting: w 18 in x h 24 in frame w 22 in x h 28 in.
Japan: Hoeido, 1832. Print #40 in a series of 53 Stations of Tokaido, 1832. The print depicts a wide view of a horse market, with white horizontal fields fading in a distant landscape. This revolutionary series depict a pivotal period in Japanese society as the Tokugawa Shogun relaxed age-old restrictions on travel. Hiroshige’s style was influential for many modern Impressionist and Post-Impresionist European artists, such as Toulouse-Lautrec and Van Gogh. Condition: Excellent. Artist’s signature on upper left. Published by Hoeido. Dimensions image w 8.25 x h 5 mat w 16.5 x h 13.5.
Japan: Uoya Eikichi, 1857. An original woodblock print created by Utagawa Kuniyoshi (1797 – 1861). This print set in Kasumigaseki is number two in a series of one hundred paintings of Edo. The overall palette consists of muted earth tones, depicting a kneeling woman gazing back at a scroll describing the philosophical tenets of truth and falsity from both sides of the heart. Kuniyoshi is known for his portrayal of famous samurai heroes, brilliant landscapes and charming bijin-ga (pictures of beautiful women). His prints were so popular during his time that they were requested for tattoo designs. Condition: good. One chip to the top right corner. Two tears to the right side and perhaps some smudges in the writing on the scroll. Small binding holes to the right edge. Artist’s signature at lower right corner. Published by Uoya Eikichi, 1857. Dimensions image w 9.8 in x h 14.5 in.
Japan: 1790. A woodblock print of a full body image of a male kabuki actor dressed as a courtesan in an elaborate kimono holding a book in one hand and a staff in the other. Katsukawa Shunko (1743 – 1812) is most well known for depicting Kabuki actors elaborately and idealistically. At the age of 45 Shunko was paralyzed by a stroke on this right side but he continued to paint with his left hand for the rest of his career. His works are displayed worldwide and can be found at the British Museum and Metropolitan Museum Art. Condition: Very good. Light smudges to lower edge. Not examined outside of frame. Artist’s signature on lower right. Dimensions frame w 10.5 in x h 20.5 in image w 5.5 in x h 12.5 in.
Japan. Keisai Eisen (1790 – 1848) : Numazu from the Series of 53: A Board Game of Courtesans. Woman peering down into a lamp, in a room with a picture of Mt. Fuji on the wall in background. Condition: Very good. Light stains at upper right corner. Matted and framed with iridescence gold tone mat. Not examined out of frame, Dimensions frame w 14 in x h 18.5 in image w 9.5 in x h 13.5 in.
Japan: Tokiwagozen. Utagawa Kuniyoshi (1797 – 1861): Scene depicting a woman weathering a snowy environment, shielding two children under a large cloak. Condition: Excellent. Matted and framed with iridescence gold tone matt. Not examined out of frame. Published by Tokiwagozen. Dimensions frame w 14 in x h 18.5 in image w 9.5 in x h 13.5 in.
Japan: c 1857. Hiroshige dramatically interrupts this view from Mount Atago in the district of Shiba, southwest of Edo, with a figure holding an immense rice paddle, the "Messenger of Bishamon" on this third day of the New Year. He is the central actor in the "Heaping Rice Ceremony" performed at the Atago Shrine, dressed in a costume designed for the new year. In real life, he is the proprietor of the Atagoya teahouse at the top of the hill. He wears a ceremonial robe draped in kelp, which will be infused in a tea thought to ward off colds. He is wearing a basket adorned with citrus fruit and a helmet ornament. Sacred paper hangs below the kelp and he is holding an immense rice paddle, symbols of Bishamon-ten, one of the four guardian deities of Buddhism and one of Japan's Seven Gods of Happiness. After the ceremony, the messenger, balanced on tall single-bladed geta, descends the 86 stone steps at the foot of the hill and greets clergy who are eating from bowls heaped with rice. Striking his giant paddle, he invites everyone to "eat, eat" to which they reply "we will, we will". The messenger then goes back up the 86 steps in his stilt-like geta and returns to the shrine. Condition: good to very good. Please note that the print has been trimmed to the edge of the image, so it lacks the censor's seal. Dimensions w 8 5/8 in x h 13 in.
Japan: Takamizawa Institute. Vibrant and colorful scene of morning travelers climbing a steep rocky path with a blue body of water and a distant Mt. Fuji behind a fog. This reprint is number eight in a series of 100 views of Mt. Fuji. Condition: Very good. Framed and matted. Not examined out of frame. Includes supporting documentation with information about the print. Publishing and editorial supervision by Takamizawa Institute. Dimensions frame w 14.5 i x h 17.5 in image w 11.5 in x h 8.5 in.