French Art Nouveau Hall Tree F1408

This is quite the impressive piece. French art nouveau hall tree, solid wood with gilt bronze hardware. Intricate carving throughout, including on the tray under the mirror. There’s a label on the piece, last three letters are “NET,” we can’t make out the first couple of letters. Vernet? Monet? Something else entirely? This grand piece measures 38w x 84h x 10d. Three planter shelves round out the pieces at the bottom. This hall tree was lightened up from its original darker wood around 1950.

Price on request.




Luckhaus Catalina Island Screen F1407

Very cool and beautiful four panel screen of a hand-painted, enlarged photo of Catalina Island from the Arthur Luckhaus studio. Panels are 18w, two of the four are 6 feet high, one is 6.5 feet, the other is 7 feet. A little bit of the island for your home.

Arthur Luckhaus was a noted architectural photographer operated a studio in Los Angeles from 1926 at least through 1942, according to City Directories. Hoffman-Luckhaus was a Los Angeles firm.


Frederick Schafer: Still Life with Fruit P1418

Somewhat luscious, somewhat decadent Frederick Schafer. Oil on canvas still life of fruit, summer bounty. A slice of a turn of the century (last century) picnic. 20 x 28.

Price on request.

Frederick Ferdinand Schafer was born in Braunschweig, Germany, in 1839. He emigrated to the United States in 1876, at the age of 37, where he created some 500 paintings of western American landscapes, and he died in Oakland, California, in1927.

He is well known within a community of collectors of and dealers in western art, mostly in California and the Pacific Northwest. Schafer’s training in Germany is unknown. His work resembles that of the Düsseldorf school and contemporary newspaper writers sometimes suggested a connection. He had studios in San Francisco from 1880 through 1886 and in his homes in Alameda and Oakland from 1887 until his death.

He apparently spent summers sketching in Oregon, Washington, Idaho, Montana, Wyoming, Utah, British Columbia, and Alaska and many of his paintings bear verso titles with locations in those states and provinces. Most Schafer landscapes are summer scenes, probably because the majestic scenes he frequently painted were difficult to visit in the winter.

A member of the San Francisco Art Association for many years, he regularly exhibited his paintings at the Mechanics Institute exhibitions in that city.

Vintage Catalina Island Pottery Assortment C384

Stunning collection of 15 vintage Catalina pieces. Separate listings coming soon. Includes vases, pitchers, goblets, more.

Price on request.

Amorcasti Bronze Bison Sculpture A1154

Bronze Bison Sculpture 12 x 5 x 9. Iconic West. Signed Ant. Amorcasti.

Antwerp sculptor Antonio Amorcasti (1880-1942).
The sculptor was originally called Antoni Amorgasthe and was also known as Antoine Amorganti. This image has been signed with Ant. Amorcasti. Dated 1929.

Price on request.

Catalina Mexican Couple Salt & Pepper Shakers C382

Vintage Catalina senor and senorita salt & pepper shakers. 4h x 2d.

Price on request.

Vintage Donkey and Match Dispenser A1150

Great vintage metal Donkey and Match Dispenser. Lift up donkey’s tail and out comes the cigarette. 11 x 9 x 4. Just the right amount of age patina.

Price on request.

J. & P. Coats Spool Cotton Wooden Case F1406

Six drawer wooden case from J. & P. Coats Spool Cotton. 19th Century, beautiful carving on drawers and front of case. 26x x 19d x 22h. Insignia in center of spool says “200 yds. 50 Best Six Cord”.

Price on request.

Coats originally started in Scotland by the Clark Brothers in the 1700s.

Clark’s thread became popular with the women of America after it was introduced by British sailors. So the Coats and Clark firms sent members of their families to the US to act as selling agents. Both companies began to successfully export their products until difficulties with high tariffs were caused by the American Civil War in the 1860’s. As a result, plans were made to manufacture threads in North America instead.

The Clark Thread Company opened its first plant in Newark, New Jersey in 1866. Similarly, J & P Coats started production in Pawtucket, Rhode Island around the same time. Later, in 1896, both companies merged but retained their respective trading names.

Although J & P Coats and The Clark Thread Company were trading independently, The Spool Cotton Company was the sole selling agent for all brands. In 1931 a single president for both companies was elected in John B. Clark. Then in 1952, they were finally integrated into Coats & Clark Inc.

M Koller No. 150 “Involutions” Psychedelic Black Light Poster 1972 Personality Posters AP590

Signed M Koller. Posters like this were the ne plus ultra of the properly decorated early 70s bedroom. And this one is truly top of the line. The company that did them and the identity of the artist are lost in the mists of time. After all, if you can remember the seventies, you weren’t in the seventies.

28″ x 27 1/2″ in almost mint condition. A little (very neat) crease at the very top edge.

Price on request.

Louise Nevelson Bicentennial Dawn 1976 Poster AP591

Pace Editions in 1976 for the installation of the pictured sculpture at the Byrne Federal Building in Philadelphia PA. 28″ x 27″ in very good condition. Printed on gold paper.

Price on request.

Louise Nevelson (September 23, 1899 – April 17, 1988) was an American sculptor known for her monumental, monochromatic, wooden wall pieces and outdoor sculptures.

Born in the Poltava Governorate of the Russian Empire (present-day Ukraine), she emigrated with her family to the United States in the early 20th century. Nevelson learned English at school, as she spoke Yiddish at home.

By the early 1930s she was attending art classes at the Art Students League of New York, and in 1941 she had her first solo exhibition. A student of Hans Hofmann and Chaim Gross, Nevelson experimented with early conceptual art using found objects, and dabbled in painting and printing before dedicating her lifework to sculpture. Usually created out of wood, her sculptures appear puzzle-like, with multiple intricately cut pieces placed into wall sculptures or independently standing pieces, often 3-D. A unique feature of her work is that her figures are often painted in monochromatic black or white. A figure in the international art scene, Nevelson was showcased at the 31st Venice Biennale. Her work is seen in major collections in museums and corporations. Nevelson remains one of the most important figures in 20th-century American sculpture.

Ben Shahn “All That Is Beautiful” Jewish Museum Poster 1969 AP589

Ben Shahn’s marvelous 1965 work, a valentine to New York City, lends itself to this 1969 poster. In very good condition, 21″ x 27 1/2″.

Ben Shahn (September 12, 1898 – March 14, 1969) was a Lithuanian-born American artist. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content.

Price on request.

James Rosenquist 1970 Poster AP588

Absolutely luscious, as the great Rosenquist’s work always is. 22″ x 27″ in excellent condition.

James Rosenquist (born November 29, 1933) is an American artist and one of the protagonists in the pop-art movement.

Price on request.

Georgia O’Keefe Save Our Planet Save Our Air Olivetti 1971 Project Poster AP586

 This is one of a series of six posters designed by internationally recognized artists and published by H. K. L. Ltd. and the Olivetti Corporation in the 1970s to promote ecological awareness. 23″ x 32″ in excellent condition.

Price on request.

Roy Lichtenstein Save Our Planet Save The Water Olivetti Project 1971 AP585

Art for a cause is almost never this good. Or so witty. The Pop Art master nails it.

Screenprint in black on photo-offset lithograph (from 4-color process) on smooth, white wove paperimage: 47 x 76.4 cm (18 1/2 x 30 1/16 in.)
sheet: 58.1 x 81 cm (22 7/8 x 31 7/8 in.) In excellent condition.

Price on request.

Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as “not ‘American’ painting but actually industrial painting”. His paintings were exhibited at the Leo Castelli Gallery in New York City.

Robert Rauschenberg “At Leo’s” March 29 1980 Leo Castelli Gallery Poster AP584

Dense and deep and wildly layered, this is a superb poster by the great Rauschenberg. It doesn’t get more “inside” and insider, but it speaks to every eye. In excellent condition, 21″ x 30 7/8″. Offset lithograph.

Price on request.

Robert Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his “Combines” of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993. He became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking.

Rauschenberg lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.

Richard Rosenquist Horse Blinders March 29 1969 Castelli Poster AP583

Been tucked away out of sight all these years. A really glorious work by one of the great American masters. 17″ x 39″. In great condition. Designed as a mailer. Never mailed. never folded.

Price on request.

James Rosenquist

Painting is probably more exciting than advertising so why shouldn’t it be done with that power and gusto, that impact.

-James Rosenquist

James Rosenquist is credited with being one of the leading protagonists of the Pop Art movement because of his billboard-like art and interesting subject matter. Although closely aligned with this movement, his work differs from “typical” Pop Art. Rosenquist uses perspective much more than other artists and realistically portrays three-dimensional objects in his paintings. He uses a larger and much more varied color palette in his works and relies much more heavily on hand painting. He also creates dramatic shifts in scale. Yet, while his art might seem like a billboard, it is exactly unlike one. His works have no clear singular message. In his pieces, he uses objects that appeal to him like cars, food, paperclips, small objects and often manipulates scale to the extreme. Spaghetti will be made to look larger than an automobile. He uses lavish colors painted on top of a white lead paint base. According to art historian Peter Schjeldahl, they have the “sheen of digital creations, in spite of their traditional process.” Rosenquist believes pictorial space is more important than imagery and his use of imagery is often more synthetic rather than analytic. Irony is only a minor component of his work. His work has been categorized as a new type of history painting – minus the rhetoric and clear moralizing.

Horse Blinders (east) is one of Rosenquist’s color lithograph and screenprints. The image consists of what appears to be a spoon in a cup of yogurt or pudding, with the foil peeled back. A piece of electrical cable enters into that image from the left, however the cable could easily be confused for some sort of paint brush. Rosenquist uses bright colors, including a color spectrum behind the cup, while in the forefront there are skinny stripes of red, white, and blue, on top of blotched black and blue spots over the red, pink, and orange. Rosenquist could be making a commentary on kitchen technology and how it is either removing or creating our “horse blinders.”

Wells Fargo Bank donated this piece to Plains Art Museum in 2003.

Artist Bio

I’m a prairie-thinking man.

-James Rosenquist

James Rosenquist, credited with being one of the 5 most important painters of the Pop Art movement along with Warhol, Lichtenstein, Oldenburg, and Wesselmann, is known for his billboard-like paintings.

Rosenquist was born in Grand Forks, North Dakota in 1933 and spent a number of his early years learning how to draw and paint. He attended the University of Minnesota, where he studied under Cameron Booth. Rosenquist supported himself by painting grain elevators, storage bins and signs across the region. At Booth’s urging, Rosenquist moved to New York in 1955 where he attended the Art Student’s League on a scholarship. He remained at the school for only a year and drifted towards a job painting billboards.

In 1958, he started producing what curator Walter Hopps calls his first “truly mature paintings” which Rosenquist coined the “wrong-color paintings” because he used cheap, left over paint from his jobs. In 1960, a significant shift occurred in Rosenquist’s style as he started using aspects of billboard painting in his art. His commercial billboard days ended when he was first identified as a new and important member of the Pop Art movement at Richard Bellamy’s Green Gallery in February of 1962. He continued gaining success throughout the world, and although he emerged as an important figure in Pop Art, Hopps claims that “his significant work began independently of the movement and continued on to become something that was quite distinct from it.” In 1971, Rosenquist and his wife and son were badly injured in a serious car accident, which drastically disrupted his career. Towards the end of the 1970s, however, Rosenquist was back in full force and continues to create paintings and sculptures today. His most famous and well-known piece from 1965, F-111, was purchased by the Museum of Modern Art in New York for its permanent collection.

Rosenquist tackles a variety of subjects, often on the same canvas, and yet he seems to make an extremely disparate composition somehow rational. He allows images that one doesn’t necessarily associate to collide in his work. His subjects often revolve around consumer products, scientific instruments, electronic communication, fragments of both famous and unknown people, antiwar and antigun statements, flowers, dolls, and many other objects. When asked why he portrays spaghetti so often in his pieces, Rosenquist replied, “Two reasons: I like the way it looks, and I like the way it tastes.”

His work has been exhibited throughout the world including at the National Gallery of Canada in Ottawa, the Tretiakov Gallery in Moscow, the Pyo Gallery in Seoul, South Korea, the Center for Contemporary Graphic Art in Fukushima, Japan, the Deutsche Guggenheim in Berlin, the Mayor Gallery in London, the Thorden Wetterling Galleries in Goteborg, Sweden, and many others. His work has also been exhibited throughout the United States including at the Museum of Modern Art in New York, the Walker Art Center in Minneapolis, the Seattle Art Museum, the Tampa Museum of Art, Plains Art Museum in Fargo/Moorhead, the Museum of Fine Arts in St. Petersburg, the Denver Art Museum, and many others.

Anders Aldrin (1889-1970) San Francisco Golden Gate Coast 1928 P1405

An early Aldrin, full of the drive and excitement of a man finding his vocation.

16″ x 18″ oil on canvas, in very good condition.

Price on request.

Anders Aldrin San Francisco Bay 1929 P1406

A rare early work by the Swedish-Californian expressionist-realist, Anders Aldrin, done while he was in San Francisco studying at the California School of Fine Arts in 1929.

Oil on Board, 12″ x 16″, in excellent condition, from the Aldrin Family Collection.

Price on request.

Anders Aldrin Los Angeles Houses 1933 P1408

“2362 Riverside Drive.” Well, those houses are gone. Time and the 5 freeway saw to that. And of course 1933 saw the Griffith Park Brushfire and the Long Beach Earthquake. But this companionable gang of dwellings lives on in this charming time-traveling  urban snapshot in oils by the brilliant Anders Aldrin. These are all the first houses in the still new city of Los Angeles, built to charm, self-express and nest in under the Southern California sun.

14″ x 18″ oil on canvas, in terrific condition. From the Aldrin Family Collection.

Price on request.

Anders Aldrin (1889-1970) Misty Morning 1943 P1410

California has its mists and fogs and it takes a spooky Scandinavian to get them on canvas. This utterly dreamy and slightly shivery 1943 work by the fauvist-expressionist-realist Anders Aldrin casts a real glamor and a spell.

Oil on canvas 20″ x 26″, in very fine condition. From the Aldrin Family Collection.

Price on request.