Frederick Joss

Modern Watercolour Published Indian Art Cartoonist Ganges River Delhi India

1954

A fabulous piece of Inuit history and a compelling drawing of everyday life for an Inuit family. The artwork is also a strong example of a natural understanding of perspective from an artist with no formal art training. The lines and mark-making are interesting both in the fact that we can see the artist working out the image by the faint rubbings out around the animals horns (see image). The lines also appear to reflect Helen's own facial beautifying tattoos; at the time of her death in 1984 was one of the last women to carry the facial tattoos of her group. The drawing was purchased from Professor Leo Bushman, part of the Faculty at the Calgary University. Bushman was helping the Co-op promote Helen Kalvak...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences ...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences ...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Whilst Rock always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you, that that you decide to follow. Artwork Details: Paradise Island, 148x111.5cm, ink, acrylic paint and mixed media on paper, 2013 Artwork Provenance: from the Artist Studio A certificate of authentication comes from Gallery Art 1821...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences ...

Vintage antique 19th century Native American Parfleche container in an envelope form, finely painted in colors of green, yellow and blue in an abstract geometric design by a Crow artist (North American Plains Indian). Makes a stunning Abstract Painting when hung on the wall or can be placed on a shelf or stand. Parfleches are rawhide containers which were fundamental to the Plains way of life. Functioning essentially as protective travelling suitcases, they enabled the nomadic tribes to effectively pursue buffalo herds and migrate between seasonal camps. So critical were they to a nomadic existence that over 40 tribes are known to have historically produced parfleches. Collectively, these tribes inhabited an area which encompassed the entirety of the Plains, as well as the parts of the Southwest, the Transmontane and Western Plateau regions. Parfleches were, out of necessity, robust and versatile objects. They were designed to carry and protect within them anything from medicinal bundles to seasonal clothing or food. In fact, it was because of the containers’ robusticity and variety that parfleches earned their name in the Anglo world. Derived from parer (to parry or turn aside) and fleche (arrow), the word parfleche was coined by 17th century French Canadian voyageurs and used to describe indigenous objects made from rawhide. Despite their common utilitarian function, parfleches served as one of the major mediums through which Plains Indian tribes could develop their long-standing tradition of painting. In fact, it is in large part due to the parfleche that tribal style emerged. Even though parfleche painting developed simultaneously with beading and weaving, painting as an artistic tradition held particular importance in tribal culture. Believed to have evolved from tattooing, it had always been used as a conduit through which tribal and individual identity could be expressed. As such, many tribeswomen were deeply committed, some even religiously, to decorating their parfleche either with incised or painted motifs that were significant to them and/or the tribe. For some tribes, such as the Cheyenne, the decorative processes which surrounded parfleche production were sacred. For others, it seems that their parfleche designs shared an interesting artistic dialogue with their beadwork, indicating a more casual exchange of design motifs. This particular relationship can be seen in Crow parfleche...

This is a rare set of 12 Steuben water goblets featuring hand blown amethyst optic ribbed bowls and foot and the amazing contrasting turquoise...

This is a dramatic and large centerpiece set made by Steuben in their heyday. The rich deep turquoise blue is the perfect focal point on a table, sideboard or in a treasured collecti...

Antique Sioux (Native American/Plains Indian) Parfleche in a box form constructed of rawhide and intricately painted in an abstract design with hourglass and geometric motifs with natural pigments and red trade cloth. At the time this was created, the Sioux Indians were nomadic and are associated with vast areas of the Great Plains of the United States including present-day North and South Dakota, Minnesota, Nebraska and Montana. Authenticity is guaranteed. Box is in very good condition - please contact us for a detailed condition report. Parfleches are rawhide containers which were fundamental to the Plains way of life. Functioning essentially as protective travelling suitcases, they enabled the nomadic tribes to effectively pursue buffalo herds and migrate between seasonal camps. So critical were they to a nomadic existence that over 40 tribes are known to have historically produced parfleches. Collectively, these tribes inhabited an area which encompassed the entirety of the Plains, as well as the parts of the Southwest, the Transmontane and Western Plateau regions. Parfleches were, out of necessity, robust and versatile objects. They were designed to carry and protect within them anything from medicinal bundles to seasonal clothing or food. In fact, it was because of the containers’ robusticity and variety that parfleches earned their name in the Anglo world. Derived from parer (to parry or turn aside) and fleche (arrow), the word parfleche was coined by 17th century French Canadian voyageurs and used to describe indigenous objects made from rawhide. Despite their common utilitarian function, parfleches served as one of the major mediums through which Plains Indian tribes could develop their long-standing tradition of painting. In fact, it is in large part due to the parfleche that tribal style emerged. Even though parfleche painting developed simultaneously with beading and weaving, painting as an artistic tradition held particular importance in tribal culture. Believed to have evolved from tattooing, it had always been used as a conduit through which tribal and individual identity could be expressed. As such, many tribeswomen were deeply committed, some even religiously, to decorating their parfleche either with incised or painted motifs that were significant to them and/or the tribe. For some tribes, such as the Cheyenne, the decorative processes which surrounded parfleche production were sacred. For others, it seems that their parfleche designs shared an interesting artistic dialogue with their beadwork, indicating a more casual exchange of design motifs. This particular relationship can be seen in Crow parfleche...

This stunning pair of dresser bottles, made by Steuben, features a beautiful optic swirl detail. The beautiful and timeless "French Blue" color brightens any decor and the simple yet...

Antique Art Deco steuben red acid etched glass lamp. Additional information: Materials: Etching, Glass Color: Red Brand: Steuben Designer: Steub...

A parfleche container in an envelope form, finely painted in an abstract design. Makes a stunning wall hanging alone or in a grouping with other parfleche or can be placed on a shelf or Stand. This was created by a North American Indian living in the Plateau cultural area - encompassing portions of what is now northern Idaho, western Montana, northeast and central Oregon, eastern Washington and southeast British Columbia. The tribes from this region include Kalispel, Flathead, Kutenai, Palus, Coeur D'Alene and Nez Perce. Parfleches are rawhide containers which were fundamental to the Plains way of life. Functioning essentially as protective travelling suitcases, they enabled the nomadic tribes to effectively pursue buffalo herds and migrate between seasonal camps. So critical were they to a nomadic existence that over 40 tribes are known to have historically produced parfleches. Collectively, these tribes inhabited an area which encompassed the entirety of the Plains, as well as the parts of the Southwest, the Transmontane and Western Plateau regions. Parfleches were, out of necessity, robust and versatile objects. They were designed to carry and protect within them anything from medicinal bundles to seasonal clothing or food. In fact, it was because of the containers’ robusticity and variety that parfleches earned their name in the Anglo world. Derived from parer (to parry or turn aside) and fleche (arrow), the word parfleche was coined by 17th century French Canadian voyageurs and used to describe indigenous objects made from rawhide. Despite their common utilitarian function, parfleches served as one of the major mediums through which Plains Indian tribes could develop their long-standing tradition of painting. In fact, it is in large part due to the parfleche that tribal style emerged. Even though parfleche painting developed simultaneously with beading and weaving, painting as an artistic tradition held particular importance in tribal culture. Believed to have evolved from tattooing, it had always been used as a conduit through which tribal and individual identity could be expressed. As such, many tribeswomen were deeply committed, some even religiously, to decorating their parfleche either with incised or painted motifs that were significant to them and/or the tribe. For some tribes, such as the Cheyenne, the decorative processes which surrounded parfleche production were sacred. For others, it seems that their parfleche designs shared an interesting artistic dialogue with their beadwork, indicating a more casual exchange of design motifs. This particular relationship can be seen in Crow parfleche...

A very nice large painting of a Harlequin Dane and a Black Tan Michel Marie Charles Verlat (25 November 1824 – 23 October 1890) was a Belgian painter from Antwerp. He was a pupil of Nicaise de Keyser, and studied at the Antwerp Academy.[1] In 1842 appeared his first important picture, Pippin the Short Killing a Lion. About 1849 he went to Paris, where he worked under Ary Scheffer. In 1855 he won a gold medal at the Exposition Universelle at Paris with his Tiger Attacking a Herd of Buffaloes, and in 1858 exhibited Le Coup de collier (now in the Royal Museum of Fine Arts at Antwerp) at the Paris Salon.[1] In 1866 he was appointed director of the Weimar Saxon-Grand Ducal Art School, where he painted some fine portraits, notably those of the grand-duchess of Saxony and of the musician Liszt. Soon after his return to Antwerp in 1875 he visited Palestine, and brought back a large number of interesting pictures, including Vox Populi (Royal Museum of Fine Arts, Antwerp), The Tomb of Jesus, and The Flight into Egypt. In 1885 he was appointed director of the Royal Academy of Fine Arts Antwerp.[1] Other important works by Verlat are the panoramas of the battle of Waterloo and the treaty of San Stefano, Christ between the Two Thieves, Defending the Flock (Royal Museum of Fine Arts, Antwerp), Oxen Ploughing in Palestine (Royal Museum of Fine Arts, Antwerp), Godfrey of Bouillon at the Siege of Jerusalem...

Extra large ten year old buffalo herd bull shoulder mount from Wyoming. Prime two tone winter long hair. Horns 28" tip to tip, 4’ top to bottom, protru...

Decorate a den, study or office with this elegant pair of antique paintings. Painted in Rome, Italy, and signed by the artist, A. de Simoni, and set in the original carved gilt wood ...

Graphite and watercolor painting of a Colorado mining landscape in red, yellow and brown by 20th Century artist, Louise Emerson Ronnebeck. Presented in a custom frame, outer dimensio...

The Archibald Russell. 1935. Pencil and watercolour on watercolour board. 20 7/8 x 28 5/8. Mat line from a previous mount; otherwise excellent condition. Signed and dated in ink, low...

The Endeavour. c.1935. Pencil and watercolor on watercolor board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a subtle 23 1/2 x 36-inch light ...

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

Emilio Sanchez (1921-1999) created [untitled] “STREET SCENE WITH FRUIT VENDOR” in circa 1950. This unsigned watercolor and came to us directly from the Sanchez estate. It is stamped on the verso "Estate of Emilio Sanchez." This piece is in good to very good condition and painted to the paper's edge. The paper size is 14.88 x 15.25 inches (37.6 x 38.6 cm). “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Greek Islands is an original drawing in mixed media (pencil, ink and watercolor) on cardboard realized by Robert Sauterne. The State of preservation is good, with a small stain alon...