Spanish Revival Hispano Moresque Tile Tables – pair F1366 SOLD

Pair of beautiful Spanish Revival California Tile Tables with Hispano Moresque tiles. Great wood bases. Each table is 18 x 31 x 18. Sold together or separately.

 

SOLD

Folk Art Hand Carved Buck A1001

Amazing hand carved wooden buck. Great piece. He’s a little excited, we think. From California, of course. A super example of a carved deer caught in a pose. 25 x 25 x 12.

Price on request.

Plains Indian Leather Moccasins (Female) A1000

Plains Indian Beaded Leather Moccasins (female) pair. Pre-1930. Red, white, blue, gold beads. Great condition.

Price on request.

Plains Indian Cowboy Gloves A999

A pair of decorated Plains Indian leather cowboy gloves, beaded, floral designs. Excellent condition. Pre-1930s.

Price on request.

Plains Indian Horse Collar A997

Spectacular beaded horse collar, pre-1930, Plains Indian. Outstanding condition, blue, red, white, gold beads. Some wear to lining, see photos.

Price on request.

John Anthony Conner: Entrance, Chinatown, Los Angeles P1275

A woman prepares to enter Chinatown. Is she hesitant or merely captured midstride? Chinatown gates from a very different time. Art, 12 x 16. Oil on board.

 

Born in Illinois, John Conner (1892-1971) was an impressionist painter of desert landscapes, and he also did portraits and other western genre. He was a descendant of Susan B. Anthony and portraitist Gilbert Stuart.

Conner served in World War I, then married and moved to Los Angeles where he worked in the art departments of movie studios, including MGM. He lived in Eagle Rock, and as a fine art painter, did work that included desert landscapes, seascapes, coastal views, missions and cowboy-Indian genre. (adapted from askart)

Sophie Anna Fischer: Gossip P1274

A look into a sanctuary. Gossip, of course, happens there along with everything else. Sophie Anna Fischer captures it all. Great little decorated frame. Art 10 x 7, Framed, 14 x 12. Oil on canvas, mid 20th century.

Price on request.

Litho of Castle Green in Original Frame AP527

Original design of the amazing Castle Green in Pasadena, captured in this lithograph. 60w x 26h framed. Only a part of the original scope remains today.

One of Pasadena’s most unique buildings, the Castle Green was built in 1898 as the annex for the famous Hotel Green. The Castle Green is an imposing seven story Moorish Colonial and Spanish style building sitting next to Central Park in Old Pasadena at Raymond and Green Street. The Castle Green was built by Col. George G. Green of the Patent Medicine Business. The Castle Green, opened in 1899 as the second of three buildings in the Hotel Green complex, was a lavish resort for easterners and others escaping winter rigors. Architect Frederick I. Roehrig, for what was later to be called the Central Annex, drew on Moorish, Spanish, Victorian, and other stylistic elements to produce Pasadena’s most stunningly original building. He blended domes, arches, pillars, balconies, and verandahs in a building of structural steel with brick walls and concrete floors, making it Pasadena’s first fireproof building. He tied it to the first part of the hotel complex, built on the east side of the street, by an ornate enclosed bridge crossing Raymond Avenue. When the Annex opened for business, its two cylindrical towers on the south and much of the roof line were illuminated with exterior lights. There was even a penthouse garden with a glass roof. The Hotel Green became the social center of Pasadena, playing host to vacationing tycoons and even presidents. It was also home to both the Tournament of Roses and the Valley Hunt Club. At the end of the resort era, the west annex was purchased by a group of regular hotel guests who wished to continue to come to the Hotel Green. In 1924 the group of investors divided the hotel complex into three parts. The Central Annex was divided into fifty individually owned units and so it remains today, renamed the Castle Green. (from Castlegreen.com)

Price on request.

 

Mayan Revival Mahogany Chair F1365

A perfect companion to the Mayan Revival Desk (F1362). Mahogany, Mesh seat. Hand carved and hand painted, measures 35h x 16.5w x 16.5. c. 1939.

Price on request.

Mayan Revival Bench (set of 2) F1364

Part of the set of Mayan Revival furniture we recently acquired. Handcarved and hand painted, from Mexico. Each slatted seat bench measures 30 x 15 x 16.

Price on request.

Mayan Revival Bench (set of 2) F1363

Part of the set of Mayan Revival furniture we recently acquired. Handcarved and hand painted, from Mexico. Each slatted seat bench measures 30 x 15 x 16.

Price on request.

Mayan Revival Desk c. 1939 F1362

Part of a set of recently acquired Mayan Revival furniture. This desk (with drawer) spells super fun from the 1930s-40s. This piece, solid mahogany, handcarved, hand painted, artist unknown. Mexican origin. Desk measures 33w x 20d x 31.5h.

Price on request.

Imperial Classic Red Radio Cabinet F1361

Rare to find an intact radio inside a Classic Imperial cabinet – but here’s one. Gorgeous original red finish on this Imperial piece; complete old Atwater Kent radio still sits inside. Silent. But waiting. Perhaps for someone to turn this beauty into a bar? Of course we thought of that here. Small trap door at the bottom reveals a little pull out desk. Superb details and craftsmanship, including wrought iron strapping and the under carriage rods. Measures 33w x 23d x 61 high.

Price on request.

Anders Aldrin: Mojave Desert 1949 P1273

Here’s a colorful Mojave; we think it must be spring out in the desert! A great Anders Aldrin. Art 16 x 20, framed 22 x 26.5. Oil on canvas. Dated 1949.

Price on request.

Blanche McGaw: “Despondent” P1272

Blanche McGaw called this haunting portrait “Despondent.” Perhaps he’s a veteran, a postwar citizen of San Francisco, like she was. Perhaps there’s something else, something she saw in his eyes. Oil on canvas, 16 x 20. Framed, 21 x 23.5. Part of the exhibition of the Society for Sanity in Art, circa 1946-47 at the Palace of Fine Arts in San Francisco.

Blanche Evelyn Baldwin McGaw was born in San Francisco, CA in 1874.  Blanche Baldwin was educated in the public schools there and at the Mark Hopkins Institute.  She married another artist, John McGaw in 1898 and remained a resident of her native city until her death in 1954.  She was also an accomplished musician and author of a book of poetry, Joys of Life are Little Things.

Exh:  SF Women Artists; Oakland Art Gallery, 1928; League of American Pen Women, De Young Museum, 1928; San Francisco Art Association, 1928; Santa Cruz Art League, 1934.

Source: Edan Hughes, author of the book “Artists in California, 1786-1940”
California Arts & Architecture list, 1932; California State Library (Sacramento); Who’s Who in California 1943;  SF Chronicle, 10-13-1954 (obit). (bio info from AskArt)

Emilio Lanzi: Cloud Enshrined P1271

Emilio Lanzi: Quite the representation of American West at its most grand: In the Cloud Enshrined, there’s the far off butte, the local tree. Color tells us it’s autumn of the year, about to get lonely on the range. 42w x 34h, Framed 44.5 x 37. Oil on canvas.

Price on request.

Emilio Lanzi, also known as Ernest Emil Lanz: noted for his California and Arizona Desert scenes, marines, still lives, portraits, large group compositions, and mythological and religious subject series.

An internationally known painter, lecturer, writer and teacher; he was born in Bern, Switzerland, studied at the Swiss Art Academy of Bern, at the Ecole des Beaux Arts, Colorossi, and Academie Julien of Paris, France.  Lanzi took a course in portraiture at the Academy at Munich, Germany, and two years of anatomy at the Sorbonne University of Paris.  By 1931 he had settled in Los Angeles.  During the Depression he was employed at Schenck’s Music House and taught at Keszthelyi Art Academy.  He died in in Los Angeles on May 6, 1965.

He also studied with Robert Fleury, Plinio Colombi, Christopher Baumgartner, etc. and taught at the Keszthelyi Academy of Fine Arts while holding many positions of  responsibility at clubs and societies in the U.S. and abroad.  He was the President-Founder of the Atheneum of Philosophy, Science and Art, and a member of the AAPL, Bohemian Club, Prof. Artists Guild, California Art Club, F.I.A.L., St. Martin, Hermetic Lodge, Gnostic Sc., Phoenix, Es. Phil., Masonic Lodge, and others.

Paul Lauritz: Glacier Peak, California P1276

Gorgeous Paul Lauritz mountain landscape, we’re pretty sure this is Northern California somewhere Sierra-centric. Buffalo or cattle (or both?) graze in the foreground. Stunning view of the emblematic west. 29.5 x 24.5 art, frame 34 x 28.5. Oil on canvas.

Price on request.

Paul Lauritz was born in picturesque Larvik, Norway. The region’s beauty attracted many artists and Lauritz seized the opportunity to observe them as they worked. One of the artists, an English watercolorist, gave Lauritz private lessons in exchange for his family providing room and board. Lauritz also studied at the Larvik Art School before he left for Vancouver, Canada, at the age of sixteen. Lauritz later moved to Portland, Oregon, where he worked as a commercial artist.

In 1912, he married Mary Potterton and the couple soon moved to Alaska in search of gold. Although Lauritz did not find his fortune during the years spent in Alaska, he found inspiration for several paintings, and met Alaskan artist Sydney Laurence with whom he exhibited.

In 1919, the Lauritz’s abandoned their quest for gold and relocated to Los Angeles, California where Lauritz opened a studio. He gained early recognition with his portraits, snow scenes and marines, one of which was commissioned by the king of Norway. However, Lauritz’s specialty became landscapes. In addition to painting along the coast of southern California, he traveled and painted extensively in the Sierra Nevada region as well as the deserts of California, Mexico, and Nevada.

Dr Jekyll and Mr Hyde Theatrical Poster 1880s LA18

This is it. An original poster of the original stage production. In fantastic condition. Color fresh. In a perfect, slightly eerie, frame. Mounted on Board.

Frame 40″ x  28″, poster 37″ x 25″

 

Price on request.

The Strange Case of Dr. Jekyll and Mr. Hyde is a novella written by the Scottish author Robert Louis Stevenson and was first published in 1886. In 1887, the first stage play adaptation, opened in Boston. Thomas Russell Sullivan’s Dr. Jekyll and Mr. Hyde. As the first serious theatrical rendering, it went on to tour Britain and ran for 20 years. It became forever linked with Richard Mansfield’s performance; he continued playing the part up until his death in 1907.

Mansfield in the title role.

Mansfield in the title role.

Mansfield had read Stevenson’s novella and was immediately attracted to the idea of adapting it for the stage. Although copyright law in the United States allowed for free adaptation of works first published in England, Mansfield secured permission for both the American and British stage rights. He turned to Sullivan, a friend of his from Boston who was a writer, to create the script.

It premiered at the Boston Museum on May 9, 1887, making it the first American adaptation of Stevenson’s story. After a few days it was withdrawn for rewrites. The updated version debuted at the Madison Square Theatre on Broadway on September 12, 1887, with A. M. Palmer producing.

Sullivan and Mansfield took the play to England, where it opened at the Lyceum Theatre in London’s West End on August 4, 1888. Mansfield’s performance as a man transformed into a maniac was praised by critics, but it had unexpected consequences when the Jack the Ripper murders began during the play’s London run. Mansfield was mentioned in the press as a possible suspect in the killings. He attempted to defuse any public concern by staging a charity performance of the comedy Prince Karl. 

French WWI Patriotic Poster “Subscribe to Hasten Peace Through Victory” by Albert Besnard 1917 LA09

Just as the US did with their War Bonds drive, the French in WW1 solicited what they called subscriptions from its citizens to finance the punishing struggle they were undergoing. This is one of the many eloquent posters produced by France’s most talented artists in support of that effort. Albert Besnard must be counted as one of the most distinguished among them.

31″ x 44 1/2″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos). Rare.

Price on request.

Paul-Albert Besnard (2 June 1849 – 4 December 1934) was a French painter and printmaker.

 Albert Besnard (1913),
photograph by Agence de presse Meurisse. Paris, Bibliothèque nationale de France.

He was born in Paris and studied at the École des Beaux-Arts, studied with Jean Bremond and was influenced by Alexandre Cabanel. He won the Prix de Rome in 1874 with the painting Death of Timophanes.

Until about 1880 he followed the academic tradition, but then broke away completely, and devoted himself to the study of colour and light as conceived by the Impressionists. The realism of this group never appealed to his bold imagination, but he applied their technical method to ideological and decorative works on a large scale, such as his frescoes at the Sorbonne, the Ecole de Pharmacie, the ceiling of the Comédie-Française (main theatre in Paris), the Salle des Sciences at the Hôtel de Ville, the mairie of the 1st arrondissement, and the chapel of Berck hospital, for which he painted twelve Stations of the Cross in an entirely modern spirit.

A great virtuoso, he achieved brilliant successes alike in watercolour, pastel, oil and etching, both in portraiture, in landscape and in decoration. His close analysis of light can be studied in his picture La femme qui se chauffe at the Luxembourg in Paris, one of a large group of nude studies of which a later example is Une Nymphe au bord de la mer; and in the work produced during and after a visit to India in 1911. A large panel, Peace by Arbitration, was completed seven days before the outbreak of war in 1914.

Partly under the influence of Thomas Gainsborough and Joshua Reynolds, whom he studied during a three-years stay in England, he applied his methods to a brilliant series of portraits, especially of women. Notable among these are the Portrait de Théâtre (Madame Réjane), and Mme. Roger Jourdain. The former is a good example of his daring unconventionality. A later work is The King and Queen of Belgium (1919). His landscape work is represented by L’ile heureuse, and Un Ruisseau dans la Montagne (1920). A symbolist in his decorative work, Besnard’s frank delight in the external world and his “chic” luminous technique bring him close to the 18th-century French painters.

A foundation member of the Société Nationale des Beaux-Arts in 1890, in 1913 he became a member of the Institute and commander of the Legion of Honour. He succeeded Carolus Duran as director of the Académie française in Rome. In 1912, he became a member of the French Académie des Beaux-Arts and became director of the École des Beaux Arts in 1922. In 1923 he co-founded the Salon des Tuileries; in 1924 he became a member of the Académie française (Seat #13).

He was represented in the official exhibition of French art held in the United States in 1919-20 by a symbolic 1917 portrait of Cardinal Mercier. An important exhibition of his works was shown in different cities of the United States in 1924. In 1932, he was elected into the National Academy of Design as an Honorary Corresponding member.

French Patriotic WWI Poster “Standing in the trenches…” Jean Droit LA13

“… lit by the dawn’s light, a soldier dreams of victory, and of his home, so he can make sure of the one, and return to the other. Subscribe!”

The young Lieutenant Jean Droit, as he then was, contributed many drawings from the front where he distinguished himself in combat, as well as designing some of the most memorable patriotic posters of the First World War. A noted writer as well as a respected soldier, Droit developed into a very fine artist. Politically of the right, but also on the right side of history, his record in World War II and during the difficult years of the occupation, while not free of that period’s terrible ambiguities, was equally praiseworthy in the long run. His was a life of incident and many chapters.

This terrific example of his work was conceived to encourage France’s version of War Bonds as the country’s means of self-financing the war.

31 1/4″ x 44 1/2″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos). Rare and fragile.

Price on request.

French WWI Patriotic Poster “Le Cardinal Mercier Protège la Belgique” by Charles Fouqueray LA12

This one is a classic of the genre. Original. 1916.

31 1/4″ x 47 3/8″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos). Rare and fragile.

Price on request.

Désiré-Félicien-François-Joseph Mercier (21 November 1851 – 23 January 1926) was a Belgian cardinal of the Roman Catholic Church and a noted scholar. A Thomist scholar, he had several of his works translated into other European languages. He was known for his book, Les origines de la psychologie contemporaine (1897). His scholarship gained him recognition from the Pope and he was appointed as Archbishop of Mechelen, serving from 1906 until his death, and was elevated to the cardinalate in 1907.

Mercier is noted for his staunch resistance to the German occupation of 1914–1918 during the Great War.

After the invasion, he distributed a strong pastoral letter, Patriotism and Endurance, to be read in all his churches, urging the people to keep up their spirits. He served as a model of resistance.

Charles Dominique Fouqueray (Le Mans, 23 April 1869 – 28 March 1956) was a French painter. He studied at the École des Beaux Arts in Paris under Alexandre Cabanel and Fernand Cormon. From 1908 he was Peintre de la Marine, following the career of his father, a naval officer. He was recipient of the 1909 Prix Rosa Bonheur, then in 1914 the first Prix de l’Indochine. From his beginnings as a painter of historical subjects he progressed to a career painting Mid Eastern and Far Eastern subjects.

 

Price on request.

French WWI Patriotic Poster “Le Jour Du Poilu (Soldier’s Day)” 1915 Maurice Neumont LA14

A rare original example of a much reproduced poster proclaiming the national Day of the Poilu, the popular and affectionate term for the French soldier, the meaning of which is essentially the Scruffy Ones.

31 1/8″ x 46 5/8″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos).

Price on request.

Maurice Neumont, born on September 22 1868 in Paris where he died on February 10 1931 at the âge of 68 was a French painter, lithograph artist, illustrator and poster artist.

A student of Jean-Léon Gérôme at the Ecole des Beaux-Arts de Paris, Maurice Neumont showed work at the Salon des Artistes Français of 1902. During the first World War he produced many notable propaganda posters.  Member of the Société Artistique et Littéraire « Le Cornet », Maurice Neumont illustrated 56 numbers of their periodical between July 4 and November 8. He was one of the founders, together with Jean-Louis Forain, Francisque Poulbot et Adolphe Willette, of the République Libre de Montmartre. Maurice Neumont was made a Chevalier of the Légion d’honneur.

 

French WWI Poster “Soldier’s Day…So Daddy can come home on leave, please” by Francisque Poulbot LA15

A propaganda bullseye by one of France’s most beloved cartoonist and poster artists to publicize the National Day of the Poilu (January 25 & 26, 1915, two days!), which was the affectionate term for France’s soldiers during the war, akin to the British “Tommy” and the American “Doughboy”, although the French word “poilu” is even more familiar, meaning shaggy, to convey how rough the conditions the men had to endure, and how rough they ended up looking. And pride in that.

31 1/8″ x 37 1/2″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos). Rare.

Price on request,

Francisque Poulbot (6 February 1879, Saint-Denis – 16 September 1946, Paris) was a French affichiste (literally, “poster designer”), draughtsman and illustrator.

Biography

He was born in a family of teachers with parents who were lecturers. Francisque Poulbot, the oldest of seven children, was a gifted draughtsman who shied away from the École des Beaux-Arts. Following 1900, his drawings started to appear in the press. He moved to Montmartre where, in February 1914, he married Léona Ondernard, before leaving for the Front; he was however sent back the following year. During the First World War, his patriotic posters and postcards led him to house arrest under the German occupation of France during World War II.

Between 1920 and 1921, Poulbot became involved with the creation of the République de Montmartre together with his friends Adolphe Willette, Jean-Louis Forain and Maurice Neumont. In 1923, he opened a dispensary on Rue Lepic to help needy children of Montmartre.

He died in Paris on September 16, 1946 and was buried in Montmartre Cemetery.

Descendents

Poulbot probably brought up his brother Paul’s daughter Paulette, known as Zozo, who lost her mother before she was three years old. She is often described as his adopted daughter. Paulette married the artist Jean Cheval, the son of Adrien Cheval, one of Poulbot’s friends. Among other collaborations there is a postcard series by Poulbot and Cheval.

The French neologism poulbot refers to illustrations representing Parisian “titis“: street children. A perfect example is an illustration of Gavroche, the famous character from the novel Les Misérables by Victor Hugo.

French WW1 Poster for Benefit Concert for Widows & Orphans by Lucien Jonas LA16

A very moving image by Lucien Jonas to publicize a benefit matinée for widows and orphans. Scheduled for 15 of January 1917, the show would feature famous opera stars actors and musicians as well a military band and exhibitions of gymnastic and fencing at the Trocadero.

31 1/8″ x 37 1/2″. Mounted on canvas a while ago, has incurred some damage to its edges since (see photos). Rare.

Price on request.

Born in 1880 and awarded the Prix de Rome in 1905, Jonas was appointed the official painter of the French Navy in 1916, and was already an accomplished artist when the Banque de France asked him to design its notes in 1933.

By that time he had produced a prolific and diverse body of work. His early compositions were very realistic depictions of working life, notably of the mines in northern France where he was born. He also painted a number of portraits, both official (for example, General Pershing in 1917 – currently in the Metropolitan Museum of New York – and Marshal Foch) and private, along with major murals in the north of France (the ceiling of the Chamber of Commerce, the town hall in Valenciennes, for example) and in Paris (the Maison des Centraux building). Jonas’s work also included illustrations for major literary works and paintings of intimate scenes such as landscapes. In 1933, at the age of 53, Lucien Jonas was recognized as a highly talented artist.

In that year, the Banque de France decided to drop the allegorical themes that until then had illustrated its banknotes, and reduce them in size. It asked Lucien Jonas to produce sketches, and the artist went on to design France’s banknotes for the last six years of the Third Republic, from the Occupation to the first months of Charles de Gaulle’s provisional government. His talents as a portrait painter can clearly be seen in the notes depicting famous men from France’s history:

- The Sully 100 franc note (created in May 1939 and issued in 1940),
- The Jacques Cœur 50 franc note (created in June 1940 and issued in 1941),
- The Descartes 100 franc note (created in May 1942 and issued in 1944).

Jonas also drew on his experience painting realistic scenes of men and women at work to create two notes devoted to the theme of trades and professions:

- The 10 franc note with a miner and a peasant woman (created in September 1941 and issued in 1943);

- The 20 franc note with a fisherman (created in February 1942 and issued at the end of 1942).

After the liberation of Paris, some of his banknotes (the biggest denominations, 100 and 50 francs) were withdrawn from circulation when the public were asked to trade in their old notes in June 1945. His smaller denominations remained in circulation until 1963.

While working for the Banque de France, Lucien Jonas continued to paint until his death in 1947, notably producing military portraits. In 1944, he painted General Koenig, de Larminat and de Lattre de Tassigny (the first two portraits are in the Musée de l’ordre de la Libération).