Los Castillo Adam & Eve Silver Overlay for a Glass M674

The glass (alas) is no longer with us but this astonishing example of Mexican silversmithing survives. Pretty glorious.

Price on request.

Black Forest Bear with Basket Wood Carving A821

We Californians have an eye for bears, and so do the Germans. But because the Black Forest is not Yosemite, their bears are more folkloric. A touch of the fairytale. I think he’s beckoning us over. He wants to tell us something…

Maybe he wants us to put something in the basket. Don’t. He’ll only use it buy liquor.

Price on request.

Original Mission Inn Table/Library Lamp L537

Made on the premises by the Mission Inn’s own craftsmen. A piece of that great dream we so nearly lost, now so beautifully renewed. Everything, the stained glass, the wood, the lines: just plain beautiful.

Price on request.

Custom Spanish Revival Wrought Iron Sconce L536

Our own in-house reproduction. Nothing is impossible. So dry your eyes. We want you to have your dreams. You see what can be done.

Price on request.

Large Dough Bowl Carved Wood A820

Here is the genuine grandma of this now currently fashionable item, touted, procured and and sometimes reproduced by the gourmet cooks’ shops and online retailers. The reason why? These work. If you bake. A lot. We, however, just love looking at it. Let’s face it, the nobility of utilitarian objects increases in beauty with age. But, believe us, this wonder has made bread before, and can again.

Lovingly repaired, so long ago, that the repair itself is an antique. We so dig it.

Price on request.

1960-70s Leather Gladstone Bag A819

For the rich hippy. The hip millionaire. The cruelly beautiful rock star. The carefree girl of the moment.  And the craftsmanship is actually pretty trippy. A golden age of almost free-form leatherwork,  its one of a kind leather artifacts are very of their time and yet have acquired a timelessness, due to the level of thought and craftsmanship that went into their making… and the beauty of those results. In perfect condition, rare and magical. More than a tote, a true totem.

Price on request.

Leather Hatbox (Canada & Robertson) A818

This is an object as satisfying to the touch as it is to the eye, and yes, even the nose. Made to carry a top, or silk, hat. Luggage like this does not understand the concept of an overhead storage bin. “Oh, Porter!”

Price on request.

 

 

Small Mexican Painted Chest 19th Century M673

Decorative as it is, this laquered wooden box belongs in the category of art. Intensely alive, superbly colored, it draws the eye in, and feeds it. The unknown painter has more than a touch of genius. We’ve placed it where we can look at it all day. We’ll miss it.

Price on request.

Antique Taiko Wooden Drum 19th Century A816

24″ High, 30″ diameter. Wood, cowhide and iron strapping and handles. Barrel shape.

Price on request

Taiko are a broad range of Japanese percussion instruments. Within Japan, the term refers to any kind of drum, but outside Japan, the term is often used to refer to any of the various Japanese drums called wadaiko  and to the form of ensemble taiko drumming more specifically called kumi-daiko ( lit. “drum collection”). The process of constructing taiko varies between manufacturers, but must include the making and shaping of a drum body, choosing a skin for the drum head, and carefully stretching the skin over the drum head to create appropriate tension.

Taiko have a mythological origin in Japanese folklore and appears to be a drumming style of Japanese origin. Historical writings documented young Japanese men being sent to Korea to study specially the drumming of kakko, a drum from Southern China. The drums are similar to the instruments found in Korea and China from shape to ornament. Taiko is believed to have been introduced to Japan through Korean and Chinese cultural influence between 300–900 CE. Some taiko drums are similar to ones from India, Thailand, Vietnam and other cultures, which suggests a Southern Asia influence on the set of instruments. Archaeological evidence suggests that taiko have existed in Japan as far back as the Kofun period. Their function has varied through history, ranging from communication, military action, theatrical accompaniment, religious ceremony, festival performances, and entertainment. In contemporary times, taiko drums have been the basis for certain social movements for minorities both within and outside Japan.

The tradition of kumi-daiko in Japan, characterized by an ensemble playing on different drums, can be traced back to 1951 through the work of Daihachi Oguchi and has continued with world-renowned groups such as Kodo. Other performance styles have also emerged from specific communities in Japan. Kumi-daiko performance groups can presently be found not only in Japan, but in the United States, Australia, Canada, and Brazil.

Oscar Bach Console and Mirror 1920s F1181

Wrought iron and bronze, marble.  Incredible hand craftsmanship in the heroic age of mass production. The era of the skyscraper and the business titan demanded its own renaissance of the decorative arts. Oscar Bach was just the man to provide it. From Spanish Revival to Streamline Moderne, no interior, or exterior, didn’t benefit from his style.

$5,200.

Oscar Bruno Bach (Breslau, Germany, 1884 – New York, NY, 1957)

German born craftsman Oscar Bruno Bach was one of the most technically skilled and commercially successful figures in the field of decorative metalwork during the first half of the 20th century. His design and production ranged from small and domestic to grand-scale architectural. His style was as diverse as his use of metals and included Arts & Crafts, Gothic, Renaissance, Spanish Baroque, Tudor Revival, and, on occasion, modern Art Deco. Thematically he was particularly fond of the zodiac, of lush scrolling grapevines, classical masks, mythological symbols and elements of the Italianate and Germanic grotesque. Oscar Bach’s work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House.

Oscar Bach was born Oscar Bruno Bakstik on December 13, 1884 in Breslau, Germany. As a young man he studied painting at the Royal Academy in Berlin and also underwent a 4 year apprenticeship in metallic arts. From 1898-1902 he attended the Imperial Academy of Art in Berlin. Following this formal education Bach became the artistic director of metallic arts firm in Hamburg where he made an ornate jewel encrusted Bible cover for the study of Pope Leo XIII, an early article of his craft which remains in the Vatican permanent collection. Two years later, Bach won several important commissions to design metalwork for civic buildings including the new city hall in Berlin. Between 1904 and 1911 Bach worked as a successful metalsmith in Germany, keeping a studio in Venice and traveling extensively throughout Europe, the Middle East and North Africa where he became keenly aware of various decorative styles, histories, materials, and techniques. In 1911 Bach won the Grand Prix at the World’s Exposition in Turin, Italy for a bed he designed for Kaiser Wilhelm II. 1911 was also the year that he moved to the United States to join his brother Max and establish a business in New York City.

Soon after his arrival, Oscar Bach and his brother and Max Bach opened a metal design studio together – first in Greenwich Village under the name of BACH BROTHERS. They soon moved to 257 West 17th Street and became Oscar B. Bach Studios, Inc. From 1913-1923 Oscar Bach’s little metal shop kept busy creating beautiful household objects for moneyed New Yorkers as well as custom architectural works for America’s great country estates. He worked often with architect Harrie T. Lindeberg and designed exterior and interior fittings for many of Lindebergh’s clients. Most of his designs from this period bear a metal with the inscription OSCAR B BACH / NEW YORK / STUDIOS INC and a central image of a female profile flanked on each side by a double-struck B. Some also bear the unfielded stamped mark OBASO-BRONZE / OSCAR.B.BACH. STUDIOS.

Oscar Bach’s Manhattan based business continued to flourish throughout the mid 1920s and 1930s. Most of his designs from this period bear a metal tag with the artist’s name in script. Commercially Bach’s production pieces ranged from the modest, such as a small lead ashtray to the pricey, such as a highly ornamental bronze chandelier with custom aurene shades. Almost every conceivable form was available – smoking stands, library lamps, footed bowls, card trays, planters, torchiéres, andirons, slab tables, mirrors, sconces, picture frames, humidors, curule chairs, bookends, children’s flatware, porringers … all fabricated in bronze or iron, steel or aluminum, silver or copper, or occasionally lead, and featuring polychrome enamels, delicate chemical and cold patina work, custom Steuben glass components, and fanciful cast ornamental detail. Bach routinely submitted his diverse objects to the Metropolitan Museum of Art’s Exhibition of Industrial Art and would capitalize on the show’s prestige by posting advertisements with photos of his exhibits. He networked well and made important social and business connections with bankers, museum directors, hotel magnates, and architectural firms. In 1926 he won the prestigious Medal of Honor from the Architectural League of New York for a set of bronze doors to their club room. Bach was a savvy self-marketer who advertised consistently in a variety of magazines, some associated with fine art and décor such as International Studio, but others more associated with the leisure class lifestyle, such as Theatre and Country Life. Wherever his commission work took him, Bach would seek to secure a local venue, usually a high end department store, to sell his designs. By 1929, consumers could purchase Bach’s fine metals across the U.S. from Manhattan’s B. Altman to Joseph Horne in Pittsburgh, and Forster-Smith in Toledo. Winning the commissions to furnish custom metalwork for the ocean liners SS Manhattan and SS Washington, Bach then persuaded US Lines to offer a selection of his small domestic objects for tourists to purchase on board while traveling across the Atlantic. Once in Europe, one could visit Bach’s studio in Piazza Oberdan, Florence, Italy.

But New York was Bach’s headquarters and it is here that one could find artist’s main show room and many of his most ambitious architectural commissions including New York’s Riverside Church, Temple Emanu-el, the Masonic Level Club, the Earl Carroll Theatre, the Daily News Building, the Chrysler Building, Rockefeller Center, the Woolworth Building, the Airlines Building, and the Williamsburgh Savings Bank in Brooklyn. Perhaps his crowning glory is the large inlaid stainless steel mural he fabricated and installed in the lobby of the Empire State Building in 1931. Elsewhere Bach won high-status commissions from the Procurement Division of the Treasury Department, Washington D.C., Yale University, The Toledo Museum of Art, Christ Church at Cranbrook, and the Circle Tower in Indianapolis. But many of Bach’s most impressive creations were not accessible to the public. These were the custom metalwork commissions he executed for the homes of some of America’s wealthiest aristocrats including Eugene duPont, Jr.’s Delaware mansion Owl’s Nest, W. E. Scripps’ Michigan estate, Moulton Manor, Lloyd Frank’s lavish Fir Acres in Portland (now Lewis & Clark College), and the ornate Villa Philbrook for Waite Phillips of Tulsa.

By the late 1930s Bach’s showroom and sales office had relocated to the prestigious British Empire Building at 620 Fifth Avenue and was operating under the name Bach Products. Most objects from this period are stamped OSCAR B. BACH and bear an applied tag which reads BACH PRODUCTS above the profile image of a tazza. His studio which employed numerous European trained craftsmen was located at 288 East 18th Street in Patterson, NJ. Throughout his career Bach filed for a total of 66 patents with the U.S. Patent Office and in 1941 Bach patented the “Bachite” system of construction to render steel corrosion and abrasion proof. 1941 marks the end of his work in the field of decorative arts and the beginning of his career as a metallist for some of America’s top industrial firms. From 1941 until his death in 1957 Bach worked as a top consultant for Remington-Rand, Manning, Bowman, Edward Budd, Oneida, Baldwin Locomotive, American Radiator Company, and the Tappan Stove Company. Upon his death Oscar Bach and his wife Pauline were living at 962 Fifth Avenue with a lovely view of Central Park and the surrounding city of New York that had been his home for over four decades. According to his obituary in the New York Times, in the months leading up to his death, Bach’s largest free-standing sculpture, “The Spirit of Democracy,” a 17 foot allegorical figure, was nearing completion and scheduled to be placed at Rockefeller Center’s La Maison Française terrace. Though Bach finished this massive tribute work, “The Spirit of Democracy” was never installed. During Bach’s lifetime, the artist was celebrated by renowned art critic and author, Matlack Price, in a publication called “Design & Craftsmanship in Metals: The Creative Art of Oscar Bach.” Bach was interviewed and featured in numerous magazine articles and trade publications. Oscar Bach died on May 4th, 1957 at the age of 72.

“Ride Em Cowboy” Bronze Bookends by Paul Herzel A822

“Ride ‘em Cowboy”, made circa 1932 by the Pompeian Bronze Company, a pair of vintage electro-formed bronze-clad figural bookends by the artist Paul Herzel.

4.5″ x 2″ x 7″ high.

Price on request.

Paul Herzel was born in Silesia, Germany in 1876. He died in May of 1956 at the City Hospital in New York City at the age of 79. When he was seven years old his family emigrated to the United States locating at St. Louis, Missouri. As a young boy, he began drawing, painting scenery along the Mississippi River, and modeling clay which he found along the river bank. His father died when Paul was 14 or 15, and he went to work as a machinist with the American Brake Company in St. Louis.

While working there, he also began to study painting at the St. Louis Art School at about age 22. During this time, he helped to establish the Brush and Pencil Club of St. Louis. Herzel became interested in the animals at the Forest Park Zoo in St. Louis and began making sketches, paintings, and models. When about 28 years of age, he went to Europe visiting art museums and copied Velasquez’ paintings in Madrid. Returning to the United States, he located in New York and began the study of sculpture at the Beaux Arts Institute of Design.

There, he frequented the Central Park Zoo and continued the study of animal form and applied it to his work. Two of his paintings “Blesbok” and “White- tailed Gnu” were acquired by the New York Zoological Society. In addition to his art work, Herzel became involved in the Socialist Labor Party and served as their treasurer for twenty years.

He also was a member of their national executive committee and once was
a candidate for the New York State Supreme Court. Many of Herzel’s
sculptural designs were sold to companies such as the Pompeian Bronze
Company, which reproduced his works as bookends, ashtrays, lamp bases,
and statuettes. He is primarily known for his sculpture, although he
completed hundreds of paintings and sketches throughout his career.

Herzel won the Barnett Prize of the National Academy of Design in 1915 for “The Struggle” a sculpture of a boa constrictor strangling a tiger. The same work also won a prize given by Mrs. Harry Payne Whitney. Other popular works include “The Pirate”, “Bucking Horse”, “Lion and Zebra”, “The Yank”, and “The Riveter” which was acquired by the Moscow Museum of Modern Western Arts.

Apparently for some time, Herzel was employed by the New York Zoo
Society painting background scenery for the animal’s cages. The library of that society contains some of his paintings.- by Marc Houseman, Museum Director, Washington Missouri Historical Society, Washington, Franklin County, Missouri.

Del-Rey Spanish Revival Armchair F1180

Solid mahogany and wrought iron with hand painted decorations, professionally restrung and freshly reupholstered in velvet, this beauty has a friend, the Del-Rey matching couch (F1179). An unbeatable combination in our eyes. Take a look, have a seat. Get up… uh, please get up. No. Really. Get up.

Price on request.

Del-Rey Spanish Revival Couch F1179

With its mate, the Del-Rey armchair (F1180), this couch combines to make a superb living room set. Recently restrung and reupholstered by our nonpareil guys, these solid mahogany, hand decorated pieces are absolute knock-outs, with their wrought iron scrollwork, sleek lines and luxurious velvet cushions. They date from 1927-33 but are utterly refreshed. As we say in Hollywood, they look rested.

Price on request.

Ejnar Hansen’s portrait of his son Jorgen Hansen circa 1934

Really grand. A boy in a red striped t-shirt, moody, romantic, a little surly and rather noble. Adolescent in other words. He too became a noted teacher and painter just like his father. The sitter and the painting both have a huge presence. A superb work, with a wonderful ache.

Price on request.

Ejnar Hansen

1884-1965
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Ejnar Hansen’s art is expressionistic and dark, aligning him with such Scandinavian artists as Edvard Munch. In fact, as a young artist growing up in Denmark, Hansen admired Munch and became a member of De Trotten (The Thirteen), a secessionist group that rebelled against academic art and advocated modernism. Hansen, who had been raised in humble circumstances on a dairy farm, attended the Teknisk Skole while apprenticing to become a painting contractor. After reaching journeyman status, he attended evening classes at the Royal Academy of Art, while exhibiting and making caricatures for newspapers and magazines. He left Copenhagen in 1914 to go to Chicago, and settled in the Midwest.
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In 1925 Hansen relocated to Pasadena, where he became a highly regarded portraitist and instructor in regional art institutions. His wide circle of friends included the painters Ben Berlin and Frode Dann, and the brilliant poet and art critic Sadikichi Hartmann. Hansen created a series of piercing yet sympathetic portraits of Hartmann, who was a long-time mentor and friend to the artist, and of others in his circle as well.

Jorgen Hansen

1922 – 2008, Santa Barbara

Jorgen Hansen, 85, concluded a lifelong career in art when he passed away on February 24, in his 47th year of teaching. Born in Chicago, and the son of noted Danish expressionist portrait painter Ejnar Hansen, Jorgen had his first one-person show at the Los Angeles Biltmore Hotel at the age of 12. He served as a navigator/bombardier in WWII, before attending the Department of Architecture at UC Berkeley, the Jepson Art Institute, and the USC School of Fine Arts. After studying in Paris at L’Academie de la Grande Chaumiere and in Mexico, where he taught at Mexico City College, Hansen completed his degree in fine arts at the University of California at Santa Barbara. He taught at Ventura College, served as the educational curator of the Santa Barbara Museum of Art, and participated in group shows in Paris, Mexico City, San Francisco, Los Angeles and Pasadena. Since 1978, he taught Figure Drawing in the Santa Barbara Adult Education program, where he built a devoted following. “I encourage students to view art, not as a way of earning a living,” he remarked in a 2005 interview, “but as a process of self-discovery that comes together as a symbolic product, a personal resolution of conflicts.” Hansen is survived by two sons, Soren Hansen and Leif Hansen, and two grandchildren.

- See more at: http://www.independent.com/obits/2008/mar/03/jorgen-hansen/#sthash.XbD4e5gJ.dpuf

Ejnar Hansen “Rocky Seascape” P1003

Ejnar Hansen painting of a seascape with a lot of rocks and other interest, probably Laguna, one of his favorite locations. 1926. Oil on board, 25x x 21h with frame, image 22w x 19h.

Price on request.

Born into poverty in Copenhagen, Denmark, Ejnar Hansen (1884-1965) was raised on a dairy farm.  At age 14, he apprenticed to an interior decoration firm.  He studied at the Royal Academy of Art and an admirer of Edvard Munch, became a part of a group called “The 13,” modernist painters who rebelled against academic painting and expressed great interest in Expressionism and Cubism.

In 1914, he arrived in Chicago and lived in Wisconsin and Minnesota, and then settled in 1925 in Pasadena, California, where he was promoted by the Stone Gallery in Monrovia. He was successful with portraiture, which he taught at numerous schools, and with figure, landscape, and occasional still life painting.  “Plein air” painting trips, many with Maynard Dixon, included Taos, New Mexico, Utah, and Denmark.

 

Ejnar Hansen Landscape Drawing P1011

Ejnar Hansen drawing of an old California landscape. Dated 1932. Matte frame 19w x 15h, image 14w x 9.5h.

Price on request.

Ejnar Hansen Bio is here.

Ejnar Hansen, Santa Barbara House Valley View P1012

Ejnar Hansen drawing of a home in Santa Barbara with the valley beyond. Image, 16w x 12d, with matte 23.5w x 20h.

Price on request.

Ejnar Hansen bio is here.

Ejnar Hansen Landscape with Trees P1013

Ejnar Hansen drawing of a California landscape with trees. 1929. Image is 15 x12, with matte 21 x 16.

Price on request.

Ejnar Hansen bio is here.

Ejnar Hansen Litho, “Football Players” P1014

Ejnar Hansen Lithograph dated 1939. Since he was a Pasadena area artist, perhaps this is Rose Bowl or Cal Tech or ?.  Image is 20w x 15h, with matte 30w x 25h.

Price on request.

Ejnar Hansen bio is here.

Ejnar Hansen, Western Landscape P1019

Ejnar Hansen old California landscape dotted with trees, strewn with rocks. Lithograph. 15 x 12.

Price on request.

Ejnar Hansen bio is here.