New Mexico

Olive Trees and Farm: Cannes. (Ferme dans le Oliviers: Cannes” Raymond Thibesart (France, 1874-1968) Oil on canvas, circa 1920s Signed ;lower right 19 1/2 x 24 1/2 (26 1/2 x 31 1/2 ...

Blue, Navy, calm, reflection, nature, mountains 31 x 41" oil on canvas, maple frame Inspired by the drama of nature and light, Cynthia creates abstracted landscapes with oil on can...

"Still Life and Hunting Dogs, 1851" P. M. Guillemin (French, 1800-1874) Monogrammed "EG" on right side. Oil on cradle board 26 x 21 (36 x 31 frame) inches Stunning example and un...

“Summer in the Pasture (Farmer’s Wife with Cow)” (Sommertag auf der Weide (Bäuerin mit Kuh)) Paul Junghanns (German, 1876-1958) Oil on Canvas Signed verso 36 ¼ x 28 inches (43 ¾ x 35...

Antique Japanese Recycled Boro Patchwork Futon Cover This indigo-dyed patchwork boro futon cover is a physical testimony to the determination and resourcefulness of those living in ...

Antique Japanese Indigo-Dyed Double Ikat Futon Cover This early 20th century hand-spun cotton futon cover displays a pattern of scattered ‘well-head’ motifs across a deep indigo fie...

“Young Famer with Draft Horses and Favorite Dog” Paul Junghanns (German, 1876-1958) Oil on Canvas Signed verso 41 1/2 x 33 1/2 Depicted here is one of Junghanns favorite subjects de...

The Earthly Paradise Frédérick Bouttats (Antwerp, 1590-1661) Painting is Circa 1610-1612 Oil on wood panel, circa 42 7/8 x 29 3/8 (ca. 52 x 39 frame) inches The inner frame is c18th ...

"Le Trianon à Versailles, 1925" Louis Gautier (French, 1855-1947) Oil on cardboard Provenance: Private Collection Marseille, France Signed and dated 1925 lower right. Titled, dated...

"The Road Beneath the Snow (Le Chemin Sous la Neige)" Eugène Bégarat (French, 1943) Oil on canvas Signed lower left 15 3/4 x 31 1/2 inches Saturated with winter's light glinting off...

"The Bridge upon the Sauceron at Nesles la Vallée (Val d'Oise), 1918" Maurice Walter Edmond de Lambert (French, 1873-1952) Oil on cardboard Signed and dated lower right 10 3/4 x 8 3/...

Dog Portrait of a Grand Vendéen Hunting Dog Jules Chardigny (1849-1892) Signed lower right Circa 1870 Oil on wood panel Housed within its beautiful and original ornate original gil...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

"Sysonby" Edward Herbert Miner (American, 1882-1941) Depicting the champion thoroughbred horse Sysonby (1902-1906) Oil on canvas, signed "E H Miner 1905" 24 x 32 inches (31 1/4 x 39...

Encaustic on panel. It's simple; I create art because it makes me happy. I try not to overthink the process of what I’m painting and let my intuition be my guide. I love laying do...

"Basilica di Santa Maria della Salute, Venice" Raymond Allègre (France, 1857-1933) Circa 1900 Oil on wood panel Signed lower left 13 1/2 x 9 (22 1/2 x 17 frame) inches The saturate...

The Patient Traveler by Maggie Taylor is a limited-edition, color photomontage image. Maggie Taylor is a Florida-based artist who creates complex photomontage compositions with a fl...

"Snowy Landscape, Italian Alps Village, 1944" Giuseppe Sobrile (Italy 1879-1956) Oil on board Signed lower right and dated "1944" in Roman numerals Dedication on back to Lina Sobrile...

Encaustic on panel. It's simple; I create art because it makes me happy. I try not to overthink the process of what I’m painting and let my intuition be my guide. I love laying do...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

This contemporary floating platform bed in White Oak was originally designed for my own bedroom. It is priced and pictured as a queen sized bed i...

Listening, bronze sculpture, childs portrait, black granite base, green patina 35 lbs

Reflections, bronze female bust sculpture contemplative peaceful Troy Williams Sculptor Troy Williams unites the timeless and the contemporary i...

When the trembling heart stops beating, what remains is a tiny beautiful corpse. I make a portrait to commemorate that life and to express my sorrow and regret. It’s my gesture towar...

"Saddled Horse Playing with a Dog"  Pierre Lenordez (1815-1892)  Bronze with green marble base, circa 1860 11 x 7 inches Painter and sculptor, professor at the Academy of Fine Arts ...

"Shepherd with Montbèliarde Calf"  Julius Paul Junghanns (1876 - 1958)  Oil on canvas 23 7/8 x 30 (35 x 41 frame) inches Signed l.l and dated "34" and signed on the verso Private Ita...

Domestic Vacations: The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous f...

A walnut desk inspired by George Nakashima’s desk design of the late 1950’s. The desk is built in solid walnut with an exceptional live edge walnut slab top complimented by Wenge but...

#00135 Hypericum mutillum, Unique photogram, gum bichromate, framed This image is a unique photogram and is printed using Rives BFK, gouache, gum arabic, kitakata and ink. Pricing...

“A Very Large Draft Standing Horse in the Stable” Georg Wolf (Alsace/Germany 1882-1962) Oil on canvas 39 1/2 x 21 1/2 (50 1/4 x 42 1/4 frame) inches Estate stamp and inventory No. 17...

This Donald Judd Inspired side table in cherry was designed for a client who wanted a clean shape and didn't need a drawer by their bed. It refere...

marsh, water, calm, green, blue, teal, aqua, dusk, lake, trees, reflection Inspired by the drama of nature and light, Cynthia creates abstracted landscapes with oil on canvas.

Antique Horse Painting "Horse at Stable with Hay" Julius Paul Junghanns (German, 1876-1958) Oil on canvas on board (marouflé ) 20 1/4 x 14 (25 ...

In American Motel Signs Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to ...

Roosters and Hens in a Barn 19th century E. Binam (Belgian? 19th century) Oil on wood panel 8 1/4 x 5 /12 (10 1/4 x 13 1/4 frame) Though little is known about E. Binam, he was clea...

Dusk, Hopi Arizona landscape lithograph contemporary by Dan Namingha purple pink hand pulled limited edition lithograph signed and numbered by the a...

Ihi (Power), contemporary Maori sculpture, green patina, warrior figure Wi Te Tau Pirika Taepa (born 1946, in Wellington) is a New Zealand ceramicist ...

"The Beauty of the Uncommon Tools" is from Tony Chirinos' project entitled, "The Precipice", - also released as a book project by Gnomic Book in 2021 - which serves as a photographic...

Antique Japanese Stencil-Dyed Han-Juban With Fan Motif Han-juban are short, waist length garments that are worn under kimono. It’s not uncommon for older examples to be missing thei...

These tripod stools in solid hardwoods with wedged tenons were originally designed as affordable items for us to make around the holidays but quickly became a regular piece that we p...

Lindenlure is a color pigment ink photograph, limited edition, signed and numbered by Julie Blackmon. I guess my work is kind of a love letter to the ...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

This four poster contemporary pencil post bed was one of the original pieces that we made in our studio. Boyd & Allister got its start over 12 years ag...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Torqueo Over Plains, Wagon Mound, NM, limited edition photograph, signed In his epic landscape photography, Mitch Dobrowner is drawn towards nature at its most sublime. Influenced d...

This hand carved stool in walnut with a tractor seat was originally designed for a client who asked for a comfortable stool in their steam shower. It was first made in teak. We liked...

Looking back now, I see 2020 as a year not just of isolation and loss, but also of adaptation. As painful as the COVID lockdowns were, they created a powerful incentive to simplify a...

“Seine Under the Morning Snow (Seine Sous la Neige du Matin)” Raymond Thibesart (1874-1968) Oil on canvas 70 x 31 ½ (36 ½ x 74 ½ frame size) inches Signed lower left The morning mis...

Blackmon's images offer a fantastic and surreal commentary on contemporary American family life while referencing a 19th Century Flemish painting – they are intricate tableaux, combi...

Michael Kenna is master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential among ...

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a series called Small Deaths published in 2001 by University of Texas...

Sister Twins, scarf Melanie Yazzie Navajo purple-gray blue-green Hopi Lightweight and easy care poly crepe de Chine fabric with digitally printed Melanie Yazzie designs in gray, blue...

These bedside tables in walnut and ash were first designed for a client who wanted nothing more than a book and a lamp by their bed. We begin by choosing a beautiful piece of wood fo...

Constantine (Algeria) 1893” Claude Firmin-Goy Oil on canvas 12 1/4 x 16 1/2 (16 1/2 x 20 3/4 frame) inches This bright and luminous work by the Avignon painter Claude Firmin-Goy re...

Antique Japanese Nabeshima Carpet (Dantsu) Nabeshima dantsu (carpets) are some of the earliest examples of rug making in Japan. The original weavers learned their craft from Chinese...

The Element ‘Gold, (Au) can only be make in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events –sta...

Antique Cat Painting "Cat with Butterfly in a Meadow" Arthur Heyer 1872-1931 Oil on canvas Signed lower right "Heyer A." 25 1/2 x 21 (29 1/4 x 3...

Antique Central Asian Silk Ikat Panel, Uzbekistan A large mounted silk and cotton ‘adras’ ikat panel with a dynamic 4-color design of large red rings with white centers surrounded b...

Beth Moon is an American-born photographer. She has gained international recognition for her large-scale, richly toned platinum prints. This portfolio focuses on totem-like beliefs ...

Large Sandstone Head of Shakyamuni Buddha Thailand (formerly Siam), Ayutthaya Kingdom 17th century 16 1/2 inches on stand, 11 1/3 without Private collection, France. The face is ...