Monterey Classic Old Wood Flip top Coffee table F1423

A great example of one of the most useful early pieces of Monterey Furniture. The Flip top Cogffee table . This all original Example in Old wood Just surfaced recently out of a large Monterey Collection in Ventura.

ClayCraft Mission Glazed Bookends Rare color CA615

The reason I love this business and genre. You never know what you will find out there that you have never seen before. From a major collection in Ventura that was mothballed for over 30 years as the heirs took each other to town and finally one came up the winner.

Glazed Book ends depicting the San Fernando and San Juan Capistrano Missions. With minor glaze chips but when have you ever seen these in such Beautiful Glazes??

Claycraft Potteries was established in 192l at 3101 San Fernando Road in Los Angeles. F. Dohrmann, Jr. was named president; Fred H. Robertson was hired as general superintendent. George B. Robertson, Fred’s son, joined the firm as a designer in 1925.

Claycraft’s decorative tiles, among the more collectible on the market today, provide some of the most definitive and idyllic imagery of the period. Tiles with medieval castles, knights on horseback, or heraldic paraphernalia, were designed to conjure up a sense of strength and security. The design, color and technical quality make these tiles prime examples of early twentieth century ceramic production in California.

The body of work achieved at Claycraft can be largely credited to the skill and attention of the two Robertsons, Fred and George, whose family had been successfully involved in ceramics for many generations. In 1934 the two departed to form Robertson Pottery. The last mention of Claycraft Potteries is found in city directories of 1939.

The company produced in excess of 500 different design tiles and published six catalogs of its products during the 1920s. A compilation of the six is offered by Tile Heritage as is a catalog of fireplace mantel illustrations published in the mid-1930s containing a number of tile designs not found elsewhere. (See THF U.S. Catalog Collection).

 

Washo Great basin Large gathering basket A1240

This large Washo gathering basket is 8 tall x 22 wide. Has a small loss on one edge as shown but in remarkable intact condition.

Louisa Keyser is perhaps the best known of the Washoe weavers, but she was only one of many. Other notable artists include Sarah Jim Mayo, Scees Bryant Possock, Maggie Mayo James, Lena Frank Dick, and Lillie Frank James. Not only did these women create and execute their own designs, they also harvested and processed the materials necessary to produce baskets. The harvesting and processing of willow and other basketry materials is time intensive and is comparable to the work of other nineteenth and twentieth century artists who harvested and processed plants for canvases, paints, brushes, clays, and such to create their artistic products. This intimate involvement with materials gives native basket weaving an extra dimension of artistry—a weaver has to find good material, harvest and process it to create the basket, and she must excel at all those skills in order to create remarkable art.

The most common type of basket woven during this period of what has been called “fancy basketry” was the degikup, a spherical, non-utilitarian basket produced by the technique of coiling. The primary basketry material is willow (Salix spp.), which is used to create the rods (warp) and the threads (weft). Bracken fern (Pteris aquilinium) and red bud (Cercis occidentalis) are the two primary materials used for the red and black decorative elements; both are processed into thread, which is spliced into the willow threads to create patterns on the light willow background. The three-rod technique, the form used originally and predominantly by the weavers of this period for the degikup, uses three willow stems to form the coils, which are curved along the horizontal plane and then sewn together with thread to create vertical height. Later artists switched to a one-rod technique, which produces a basket of somewhat less sculptural depth. The one-rod technique is less difficult and time intensive to produce, although not easy or quick by any means. The switch in styles reflected a response to the demands of the market. Other responses to market demands included lidded baskets, beaded baskets, and occasional chemically-dyed willow.

Washo Pauite Beaded basket circa 1930 A1242

Nice little beaded basket with very little bead loss at rim. Clean and lovely. Great design and detail. Small and ready for your collection. 2 x 3.5

 

The people of the Washoe tribe of Nevada and California have long practiced the art of weaving. Both men and women created the tools and products necessary to make a living in a land that required seasonal movements. Heavy pottery or bulky wooden items were not suited to this environment nor to the mobile lifestyle of the indigenous people. Harvesting willow, sagebrush, tules, reeds, ferns, and other fibrous plants, the people who occupied the western Great Basin and eastern Sierra Nevada mountains made clothes, mats, shoes, containers, nets, twine, tools, shelters, and such—items that were light, easily transported, and durable.

This necessity-based approach to weaving underwent a dramatic transformation during the years 1885 to 1935 when a national appreciation of traditional native arts surfaced in association with the Arts and Crafts movement. Beginning in England and moving to the United States, the Arts and Crafts artistic philosophy rejected the excesses of the Victorian era and chafed against the industrialization of the new century.

Native arts in particular were valued as reflecting a more natural and thus truer relationship of man to nature. Baskets especially were valued as they easily lent themselves to an artistic expression and appreciation. Tourist destinations such as Lake Tahoe presented opportunities for many weavers to sell their work, while women such as Louisa Keyser (Datsolalee) became recognized artists whose work was supported by patrons. Although the baskets were sometimes originally valued for their supposed link to the past rather than intrinsic artistic merit, the end result created a legacy of remarkable weavers and baskets.

Robert F Boyle Wilshire Blvd Temple 1933 Regional Watercolor P1463

Robert F Boyle Production designer extroidinaire. Started his long Hollywood career by studying architecture and art and the Pasadena Art College in the early 1930’s There he met lifelong friend Boris Levin and they painted regional watercolors all over the area. From Chavez Ravine to Beaumont. From Wilshire Boulevard to Old Mexico. These early watercolors really capture the light and color of the area as seen in the early 30’s. Robert and Boris both went on to work in the Film industry. Mr Boyle worked on over 100 films and is best noted for working with Hitchcock on North By Northwest and The Birds.

 

He was 98 when he received an honorary Oscar at the The 80th Annual Academy Awards (2008), making him the oldest Oscar recipient to date.
Art director and production designer.
He grew up on a ranch in the San Joaquin Valley.
He earned a degree in architecture in 1933, but it was of little help during the Depression. He worked as a bit player at RKO Pictures.
During WWII, he was a combat photographer for the Army Signal Corps in Europe.
Boyle started at Paramount as a draftsman, illustrator and set designer under the auspices of Hans Dreier. He did second unit work on Paramount’s The Plainsman (1936) and Union Pacific (1939), then went to Mexico to paint. Except for interludes at RKO (1946-47) and Columbia (1957-59), Boyle spent the bulk of his pre-1970 career at Universal (1941-43, 1947-56, 1961-64). He is best known for his fruitful collaboration with Alfred Hitchcock, beginning with Saboteur (1942), for which he created a studio model of the hand and torch of the Statue of Liberty, used for the climactic final scene. OHis other famous contributions include the crop-dusting plane strafing Cary Grant in North by Northwest (1959) (for which he combined small models with location footage) and his clever montage work of the seagulls swooping on Tippi Hedren in The Birds (1963).
Latterly taught students at the American Film Institute.
Inducted into the Art Directors Hall of Fame in 2012.
Delivered moving comments on his career and the art of moviemaking when given an honorary Oscar at the 80th Academy Awards presentation on February 24, 2008 at age 98. [February 2008]Personal Quotes (4)
[his definition of the job of an art director or production designer] Being responsible for the space in which a film takes place.
I’m all for construction [of a film’s setting], because we’re dealing with the magic of movies. And I always feel that if you build it, you build it for the dream rather than the actuality. We make up our own truth.
[on Alfred Hitchcock] No director I’ve worked with knew as much about films as he did. A lot of directors I worked with knew a great deal, but they didn’t have that technical skill.
[on working with Alfred Hitchcock] On each picture I recognized again, as if for the first time, that I was working with a master. He is one of the few who really knows the materials of his craft and their effect–and he will use anything–in any combination, in any form, conventional or not–to make his statement, to tell his story.

Robert F Boyle Early California Regional Watercolor Gardner Inn P1464

Robert F Boyle Production designer extroidinaire. Started his long Hollywood career by studying architecture and art and the Pasadena Art College in the early 1930’s There he met lifelong friend Boris Levin and they painted regional watercolors all over the area. From Chavez Ravine to Beaumont. From Wilshire Boulevard to Old Mexico. These early watercolors really capture the light and color of the area as seen in the early 30’s. Robert and Boris both went on to work in the Film industry. Mr Boyle worked on over 100 films and is best noted for working with Hitchcock on North By Northwest and The Birds.

This lovely watercolor of the Gardner Inn now lost to history is just one of many wonderful examples we have of his work currently in stock from the families Estate.

Robert F. Boyle was born on October 10, 1909 in Los Angeles, California, USA as Robert Francis Boyle. He was an art director and production designer, known for The Thomas Crown Affair (1968), In Cold Blood (1967) and North by Northwest (1959). He was married to Bess Boyle. He died on August 1, 2010 in Los Angeles.

He was 98 when he received an honorary Oscar at the The 80th Annual Academy Awards (2008), making him the oldest Oscar recipient to date.
Art director and production designer.
He grew up on a ranch in the San Joaquin Valley.
He earned a degree in architecture in 1933, but it was of little help during the Depression. He worked as a bit player at RKO Pictures.
During WWII, he was a combat photographer for the Army Signal Corps in Europe.
Boyle started at Paramount as a draftsman, illustrator and set designer under the auspices of Hans Dreier. He did second unit work on Paramount’s The Plainsman (1936) and Union Pacific (1939), then went to Mexico to paint. Except for interludes at RKO (1946-47) and Columbia (1957-59), Boyle spent the bulk of his pre-1970 career at Universal (1941-43, 1947-56, 1961-64). He is best known for his fruitful collaboration with Alfred Hitchcock, beginning with Saboteur (1942), for which he created a studio model of the hand and torch of the Statue of Liberty, used for the climactic final scene. OHis other famous contributions include the crop-dusting plane strafing Cary Grant in North by Northwest (1959) (for which he combined small models with location footage) and his clever montage work of the seagulls swooping on Tippi Hedren in The Birds (1963).
Latterly taught students at the American Film Institute.

Carl Hugo Beetz “Billie the kid” P1468

Billie the kid by Carl Hugo Beetz really captures the moment. Black and white. Ink, watercolor and pencil give this Illustration depth and 30’s toughness.

A painter and printmaker, Carl Beetz is known for his watercolor regionalist and social-real scenes of poverty stricken people such as figures in pool halls, at the race track, etc. He was born in San Francisco and studied at the California School of Fine Arts with Eric Spencer Macky, the Art Students League with George Bridgman, and the Chouinard Institute with Pruett Carter.

Beetz was a member of the California Watercolor Society and the Society of Etchers. From 1935 to 1944, he was an instructor at the Chouinard Art Institute. He also taught at the California College of Arts and Crafts in Oakland and at San Francisco Junior College.

Source:
Edan Hughes, “Artists in California, 1786-1940”
Peter Falk, “Who Was Who   …

Carl Hugo Beetz Jockeys in the Locker room Oil on Board P1467

Carl Beetz seems to paint and illustrate with great humor and here we have Jockeys in the Locker room. Large in scale Recently cleaned. Circa 1935.

A painter and printmaker, Carl Beetz is known for his watercolor regionalist and social-real scenes of poverty stricken people such as figures in pool halls, at the race track, etc. He was born in San Francisco and studied at the California School of Fine Arts with Eric Spencer Macky, the Art Students League with George Bridgman, and the Chouinard Institute with Pruett Carter.

Beetz was a member of the California Watercolor Society and the Society of Etchers. From 1935 to 1944, he was an instructor at the Chouinard Art Institute. He also taught at the California College of Arts and Crafts in Oakland and at San Francisco Junior College.

Source:
Edan Hughes, “Artists in California, 1786-1940”
Peter Falk, “Who Was Who   …

Andres Aldrin Self Portrait P1465

A rare and unsual piece from the Aldrin Collection. The Only Self Portrait in the collection. Framed and given a custom plate.

Anders Aldrin was a Swedish immigrant who began painting at the late age of 34. He studied at Otis Art Institute with Edouard Antonin Vysekal (1890-1939), before continuing on to the Santa Barbara School of Fine Arts and San Francisco. He worked under Frank Moreley Fletcher and among contemporaries Millard Sheets (1907-1989) and Milford Zornes (b. 1908). His modernist paintings of cityscapes, portraits and landscapes demonstrate a Fauvist impulse carried out by strong brushwork and a distinctive palette.

Born in 1889 in Stjernsfors, Sweden, Aldrin grew up in a family of little means. As a youth, he showed artistic promise but was not encouraged to pursue his creative interests. At age 22, after working for 12 years to support his family, Aldrin immigrated to Chicago. Soon after, he moved to Minneapolis and joined the growing population of Swedish farmers. There, he met and married Mabel Esther Lindberg, the daughter of a Swedish Baptist minister. In 1918, he traveled to France to serve in World War I. After a year, he contracted tuberculosis and was sent to the Veteran’s Administration Hospital in Prescott, Arizona. While healing, he returned to his childhood interest of painting. This convalescence served as a turning point for Aldrin. After his recovery, he moved to Los Angeles and enrolled for study at the Otis Art Institute where he studied under Edouard Antonin Vysekal. At the relatively late age of 34, he dedicated his life’s work almost entirely to painting.

From Otis, he received a scholarship and was described as “one of the best trained and most promising students.” Aldrin moved to Santa Barbara in 1927 with a scholarship to study at the Santa Barbara School of Fine Arts under Frank Morley Fletcher (a Japanese color woodblock specialist). After completing his studies at Otis, he interspersed work in oils, watercolors, and woodcuts with courses at the California School of Fine Arts in San Francisco. In 1935, the Los Angeles Museum featured his work in his first solo exhibition.

Thereafter, Aldrin’s work was featured in many shows and received high critical praise. In 1940, Arthur Millier called his Echo Park “perhaps the only profound job of painting in this best show the society has ever put on.” Despite this praise, he never achieved a high level of commercial success. The reality of life as an artist was difficult for Aldrin, but he managed his time and money to paint.

Through the 1940s, Aldrin exhibited his work in group shows, receiving prizes and critical acclaim. He painted his surroundings; friends and family, and scenes from the burgeoning city of Los Angeles. He spent six months in New England in 1945, exhibiting his works in a solo show at the Pasadena Art Institute. In 1952, his solo show in Hafgors, Sweden, was a great success. Both artist Lorser Feitelson and Aldrin himself felt his art would have “sold like hotcakes” in Europe.

Although he participated in exhibitions, Aldrin always rejected the commercialization of his art in favor of his own unique style. When he wasn’t working in Los Angeles, he painted in Japan and Sweden, focusing intently on the use of color to reveal the essence of his subject. Aldrin’s techniques were never static, in fact, in 1969, a year before his death, he maintained his independent and modern spirit by painting in acrylic, calling it “a marvelous medium in which you can get any color you wish.”

 

Original Mexican Movie Poster La Generala AP619

An awesome Mexican Movie poster from 1971. Graphically modern and the Mexican 70’s

Recently Cleaned and professionally mounted.

During the Mexican Revolution, a hardened and rich lady landowner is overtaken by the violence of the times. Losing her land and house, she falls in love with a revolutionary leader that is killed by a sadistic and corrupt federal officer. She takes the revolutionary flag and leads a rampage of violence and destruction.

 

Cantinflas Note Enganes Corazon Original Movie Poster AP617

This circa 1937 Cantiflas Film is the one of the Essentials of Classic Mexican Cinema

This Original Rare Poster has been professionally cleaned then mounted on Linen .One of the best of his Early films.

 

Bauer Matt Carlton 7″ Water Bottle in Yellow SOLD B770

Uniquely simple in form. Bauer’s water bottle by Matt Carlton is perfect for keeping the filtered water cold in the fridge or displayed in todays modern home. 7″ tall and perfect in all ways. No chips, Cracks or repairs. $250.00

 

Bauer Matt Carlton Hands on Hips Vase in Jade Green B769

One of the most prolific forms by Matt Carlton for Bauer and just as popular today as it was in the late 1920’s. This Great piece in Jade Green is perfect in so many ways. No chips, Cracks or repairs. 12″ tall and a steal at $600.00

 

Bauer 6″ Steam ship vase in Original Polychrome exterior B768

Thought to be one of the most highly sought after forms produced in the early years of Production poetry by Bauer. This Steamship vase as its known by collectors today has the disguising gloss cobalt interior with unusual cobalt and burgundy polychrome exterior. Earthy and Classic all at the same time. 6″ of the purest form . $350.00

 

Bauer 16″ California Vase in Cobalt matt glaze B767

Rare to find any Bauer California vases let alone one this large. 16” is a beast for this demure vase usually found in 8-10” varieties. From a great collection recently disbanded. Perfect original condition. $650.00

Bauer Matt Carlton 13″ Cobalt Interior Rebecca vase B766

Another lovely original piece from a great collection. Bauer Matt Carlton Rebecca in bisque with a factory Painted? cobalt exterior with a Glazed cobalt interior. 13″ in height. No chips, cracks or repairs. $500.00

Bauer Matt Carlton hand thrown Rebecca Vase SOLD B765

A rare early piece of Matt Carltons work for the Bauer pottery company. In the form of this 21″ tall Vase known as the Rebecca today to collectors. Rare early Cobalt glazed interior .Visually stunning in its original red finish over a Bisque hand thrown body. No chips, Cracks or repairs Priced to sell at $750.

 

Sam Hyde Harris (1889-1977) Southern Pacific Daylight Photographic Poster Mockup Circa 1936 AP608

From the Sam Hyde Harris Estate we have the only surviving color mock up of the famous Daylight Train run by Southern Pacific Lines. Sam Hyde Harris today mostly known for his lovely desert and lush Pasadena Plein Air paintings was a highly regarded commercial artist from 1905-1950 and executed many posters for the famous Santa Fe and Union Pacific lines as well as other Railroads. This piece large in scale is a Huge photographic image that was then hand colored for possible poster tones. Now mounted on linen and ready to be framed. Now Estate Stamped.

20 x 44.5 in size. Perfect for the California Poster buff or train collector.

Now Estate Stamped.
The streamlined Daylight began running on March 21, 1937.  Initially 12 Pullman passenger cars were hauled by GS-2 steam locomotives.  Later, more passenger cars and newer steam engines were added as ridership increased.  A southbound train in San Francisco (Train 98) and a northbound train in Los Angeles (Train 99) would leave at the same time.  Both would depart at 8:15 am and arrive at their destination at 6:00 pm, traveling 471 miles in 9 hours 45 minutes.The Coast Daylight was a passenger train run by the Southern Pacific Railroad between Los Angeles and San Francisco, California.  The train ran on SP’s coast line tracks which was considered to be the most beautiful route of all their passenger trains.  The passenger cars and locomotive were painted red, orange, and black.  The colors were so striking against the California coastline that the train was often called the “Most Beautiful Train in the World”.

Price on Request.

Olaf Olesen 1873-1953 Winter Landscape 1919 Oil on Linen on Board P1461

One of the Most Beautiful winter landscapes from the end of the arts and crafts movement is as modern today as it was then.You don’t get the truly gifted hand of Olesen until you see this in person. The Nuances and skillful use of color within the white of the snow. Remarkable.

Not a lot is known of this gifted Danish master except many of his works survived and many have been sold at auction starting in 2011. What we do know is that he was born March 14th 1873 and according to one website passed in 1953. Active in New York and Denmark we can find on Ancestory .com that he came into the country many times between 1920 and 1950. His father was Jorgen Olesen and he left behind a fair amount of beautiful works of art. This example came from the Hansen collection of the famous Swedish Born painter Ejnar hansen who came to this country in 1915 and settled in california in the 1920’s. Olesen was thought to be a friend of the family.

This example was recently cleaned and framed. 20 x 24 ,Framed 27 x 31

Price on request.

“Carlota” The Mad Empress Original Rare Mexican Movie 1939 Poster AP618

Rare Mexican Movie Poster for “Carlota” The Mad Empress. Mexican Cinema Poster. Mounted on linen backed. 26″ x 30″

The Mad Empress is a 1939 American historical drama film depicting the 3-year reign of Maximilian I of Mexico (Nagel) and his struggles against Benito Juarez (Robards). Empress Carlotta (Novora) is the “mad” empress who has a breakdown when she realizes her husband is condemned to death.[1]

“La Pajarera” or The Birdhouse Original Mexican Movie Poster AP616

“La Pajarera” Mexican Movie Poster. Made in 1945. Professionally mounted and cleaned. Linen backed.  26″x 30″

Synopsis:

At the end of 1915, the colonel of the rebel troops Francisco Lopez returns to Jalisco. The reason is to agree to the amnesty after the defeat suffered by the constitutionalist army. There he meets Rosa, who makes a living selling birds, for which she was always attracted. Between them arises the love and a son is born, but they will have to separate, since the colonel has been betrayed and the army has given order of capture.

Price upon request.

“El Burro Que Toco La Flauta” Mexican Cinema Poster AP615

“El Burro Que Toco La Flauta” Mexican Cinema Poster. Linen backed. 26″ x 30″

“Cruel Destino” Mexican Cinema Poster AP614

“Cruel Destino” Mexican Cinema Poster. Professionally mounted and cleaned Linen backed. 26″ x 30″

Original Mexican Movie Poster, Cruel Destino directed by Juan Orol in 1944 with María Antonieta Pons, José Pulido, Jorge Arriaga, Kiko Mendive, José Eduardo Pérez, Manuel Noriega, Carolina Barret, Florencio Castelló, Guillermo Familiar, Gilberto Gonzáles, Raúl Guerrero, Chel López and Juan José Martínez Casado. Lithography “El Cromo” Printed in México Productores y Distribuidores Asociados S. de R.L. The measure of the poster is 37 Inches of high and 28 Inches of wide.

Price upon request.

“Juana Gallo” 1961 Vintage Mexican Cinema Poster AP613

“Los Canallas” Vintage Mexican Cinema Poster.

Juana Gallo (released in the U.S. as “The Guns of Juana Gallo”), the 1961 Miguel Zacarias Mexican war romantic melodrama starring Maria Felix, Jorge Mistral, Luis Aguilar, Christiane Martell, and Ignacio Lopez Tarso

The Guns of Juana Gallo (1961) “Juana Gallo” (original title) The true life’s story of Juana Gallo. A woman who rose to become one of the leaders of the Mexican revolution.

Professionally cleaned and mounted on Linen. 26″ x 30.” Price upon request.

“Los Canallas” Infernal Angels Vintage Mexican Movie Poster AP612

“Los Canallas” Vintage Mexican Cinema Poster,

Los canallas (released in English-speaking countries as “Infernal Angels”), the 1968 Federico Curiel Mexican masked wrestler luchador crime action melodrama starring Mil Mascaras, Regina Torne, David Silva, Manolo Munoz, Federico Falcon, Claudia Martell, Altia Michel, Fernando Oses, Olga marquez, Elvia Mendoza, Margarita Santies Teban, Cavernario Galindo, and Dorrel Dixon

Minor Damage not fixed.Easily repaired or frame as is. Linen backed, 26″ x 30″. Price upon request.