Ashville Fine Arts

LINN LOVEJOY PHELAN, LINN PHELAN (American, 1906-1992), one of the most famous New York based artist-potter worked with earthenware clay that was coated wi...

ABOUT SCULPTURE Crafted with great taste and skill by an unidentified sculptor (signed 'Needle'), this stunningly shaped and proportioned remarkable modernist sculpture looks exquis...

ABOUT LAMP This marvelous night light was made in Vienna around 1900 in the Art Nouveau style and in the manner of Franz Xavier Bergmann although there is a stamp on the back indicat...

ABOUT FRAME Handmade during 17th century, this frame is a grandiose piece of master craft by an extraordinary Spanish silversmith. Exceptionally complex, not only in its exquisite an...

ABOUT SCONCES A pair of vintage enameled brass candle sconces, of sculptural form designed as serpentine cobras, evoking the Egyptian revival st...

ABOUT SCULPTURE This great Austrian Jugenstil desk-size cold-painted and patinated bronze sculpture of English bulldog has all the necessary qualities to be loved by a new owner – it absolutely life-like and has very expressive eyes. DIMENSIONS Height 3.25 inches Width 2 7/16 inches Depth 5.5 inches MARKINGS Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse (these marks used to disguise his identity on the erotic works). They are also often inscribed ‘Geschutzt’, which refers to the model/design being ‘registered’ or copyrighted; or not marked at all, especially if the pieces are miniatures. ABOUT ARTIST Franz Xavier Bergmann...

About ‘VICTORY OF BOGOTA Henri Louis Bouchard was an important French Romantic sculptor, known for works commemorating heroic moments in the hist...

MARKINGS & DETAILS Signed ‘B. Butzke’ on integral base. Original black veined marble plinth. DIMENSIONS Height: 24 inches Width: 15.5 inches Depth: 9 inches Base height: 1.5 i...

Bearing a clear aesthetic influence of the Art Deco era, this wonderfully beautiful image of the progenitor Eve is a Western-European school sculptural portrait of a stunningly beaut...

DIMENSIONS height: 23 inches width; 12 inches depth: 6 inches MARKINGS Signed at the bottom in back. DETAILS Original hand-crafted black-painted wood plinth. REFERENCES Originally, sold to Papillon Gallery of Los Angeles. CONDITION Excellent antique condition, wear consistent with age and use. Enid Bell Palanchian (American, 1904 – 1994) a/k/a Mrs. E. B. Palanchian, Mrs. Enid Bell Palanchian and Mrs. Missak Palanchian was an important American sculptor, author, illustrator and professor who was primarily active in the New York/New Jersey area, but who established a respected body of work recognized throughout Europe and the United States as reflected by awards received in Paris, New Jersey, New York, New Mexico and Florida. Her achievements included numerous public works projects (e.g., the design of the Congressional Gold Medal) on display at public institutions and museums around the country, private commissions and sales throughout the world, group and solo exhibitions, generous donations of art and compilations, and the passing on of her knowledge and skills to 24 years of art students of the Newark School of Industrial and Fine Arts. Enid Bell was born in London, England, and later studied at the Glasgow School of Art and then at the St. John’s Wood Art School; as well as studying with fellow Scot Sir William Reid Dick in London. Then, after moving to the United States, she taught at the Art Student League in New York City at Miss Chapen’s School. Essentially a figurative, direct carving in wood artist, she was based in New Jersey where she became the head of the sculpture program of the Fedral Art Project for that state and was herself the creator of several FAP commissions. In 1932, she married Armenian/American businessman and artist, Missalk Palanchian athough she retained her name “Bell” for professional purposes. Following the end of the Federal Art Project in 1944, she taught as instructor of sculpture and Head of the Sculpture Department of the Newark School of Fine and Industrial Art until 1968, and was active was a member of the National Sculpture Society. Enid Bell died in 1994 in Englewood, New Jersey. WORK • Birds, Leonia Public Library in Leonia New Jersey (installed 1981) • Untitled, Boonton Post Office in Boonton, New Jersey (1938) • Boonton Post Office, Boonton, New Jersey • Colonizing America, Center for Youth Education, Newark, New Jersey, (1934) • Little Indian Dancer, Englewood Public Library, Englewood, New Jersey • Alexander Hamilton Troy Public Library in Troy, New York • bird bath, Music, Science, Union City...

Edgardo Simone, (Italian/American, 1890-1948) Classically trained in Italy at the Beaux Arts Academy in Rome from 1906 to 1913, Edgardo Simone became a famous sculptor in Italy and the United States using mediums of terracotta, ceramic, bronze, and plaster. He earned a Doctorate of Design and Sculpture at the Academy and then emigrated to the United States where he worked in New York, Chicago and southern California. His style was influenced by Art Nouveau, Art Deco and other modernist influences. In Italy, he had received three times the Croix de Guerre and was decorated by King Victor Emmanuel II and Queen Margherita. Before moving to America, he had much recognition in Italy. He had created war and city monuments, and tombstones in twenty-six Italian cities. When he arrived in New York City, one of the newspapers carried a headline: "Italy's greatest Sculptor Arrives in New York." In New York, Simone became prominent in society and did many portrait busts including such of Thomas Edison, John J. Pershing, Henry Ford and Louis Brandeis. Sally Rand, the famous fan dancer of Chicago's World's Fair in 1933-1934, sat as a model in his studio as did President Franklin Roosevelt and author Theodore...

Dimensions Total height: 12.5 inches Width: 19 inches Depth: 7.5 inches Base height: 1.5 inches DETAILS Unsigned, original wood base. CONDITION Excellent vintage condition, wear consistent with age and use. Stanley R. Stangren (American, 1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry. Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham. Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits. In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe. Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950’s, Stangren opened and maintained a ceramic business in Trenton, New Jersey. Very few pieces of his work remain from this period. When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions. In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School. "I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said. "What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren...

Definitely created by a master sculptor, this small but very dynamic modernist sculpture depicts a cannonball thrower in the moment of forceful rotation before the actual throw of th...

ABOUT ARTIST Regretfully, there is only a limited amount of biographical information available on the author of this wonderful sculpture - Jacobus Nicolaus Sandig (Dutch, 1876 - 193...

ABOUT This elegant Modernist large six-piece sterling silver service for coffee and tea is of a superb workmanship and consists of a tray, a coffee pot, a tea pot, a hot milk or cho...

Dimensions: Height: 24” (61cm) Width: 20” (50.8cm) Frame width: 3.25” (8.12 cm) About: This very elegant painting is a part of the famous ‘Cantonese’ series of mainly female portraits, painter by David Anthony Tauszky...

Signed on the base: ‘B. Sopher’ Well-preserved original dark brown patina. Dimensions: Height: 7.5" Width: 8" Depth: 7" Bernhard (Burnat David) Sopher (1879 – 1949) was a German-American sculptor. He was born in Safed, Syria and studied sculpture at the Berin Art Academy from 1897; and from 1905 to 1908, at the Weimar School of Crafts with Adolf Brutt in Berlin and Weimar. At the end of his studies, he was already involved in the realization of the monument to Grand Duke Carl Alexander...

This wonderful life-like sculpture depicts a Koran scriber, who, bending his legs under him, holds sheets of paper in his hands, on which he transcribes verses from the Koran lying i...

This wonderful life-like sculpture depicts a half-naked odalisque reclining in a lazy pose on silk pillows on an ottoman, covered with a lion's skin. With bare breasts, only a small ...

Signed and dated in the bottom right corner “L.M.03” Dimensions: Height: 28 inches (70cm) Width: 40 inches (100 cm) Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova...

A Streamline Moderne style sculpture by Ukrainian artist Anton Pavlos (1905-1954), produced circa 1930s. It depicts a couple of male and fem...

This exquisite KPM Porcelain Mythological Group of feasting Bacchus depicts Dionysus (also called Bacchus - a nature god of fruitfulness and vegetation, especially known as a god of ...

This delicate statuette, amazing in its plot and executed in the best traditions of Meissen, depicts a charming cherub with a sad face expression, who has injured his leg and is leaning on homemade crutches. It evokes in the viewer compassion and a smile of tenderness at the same time. Hallmarked with Meissen crossed swords and numbered ‘18’ on the bottom of the base. Dimensions: Height: 8.38 inches With: 3.63 inches Depth: 4.63 inches MEISSEN Meissen porcelain or ‘Meissen china...

Executed in the best traditions of Meissen, this lovely pair of statuettes depicts a female mandolin player and a woodcutter, where a musician entertains the laborer while he is occupied with his work. Hallmarked with Meissen crossed swords and numbered ‘18’on the bottom of both bases. Dimensions: Mandolin Player: Height: 4.07 inches (10.17cm) Width: 2.25 inches (5.62cm) Depth: 1.88 inches (4.7cm) Woodcutter: Height: 4.07 inches (10.17cm) Width: 1.88 inches (4.7cm) Depth: 2.75 inches (6.87cm) Meissen Meissen porcelain or ‘Meissen china...

This wonderful porcelain sculptural group depicting children playing in an 'adult wedding’ conveys with surprising accuracy the emotional component of the moment, conveyed in the expression of children's faces. Dimensions: Height: 7.13 inches (17.82cm) With: 11.75 inches (29.37) Depth: 4.5 inches (11.25cm) Royal Vienna Porcelain. The Royal Vienna Porcelain Manufactory (German: Kaiserlich privilegierte Porcellain Fabrique) was a porcelain manufacturer in Alsergrund in Vienna, Austria. It was founded in 1718 and continued until 1864. The firm was Europe's second-oldest porcelain factory after Meissen porcelain, and for 25 years the two remained the only European...

Signed “E. Seger”. Black patina. Dimensions Height: 8 inches (20cm) Width: 7.5 inches (18.75cm) Depth: 8.5 inches (21.25cm) THE BIBLE STORY Samuel 17:34-36 Originally, Saul would not allow David to fight Goliath (17:33). Saul’s reason was simply that Goliath would be stronger than David. David was young and he did not have the experience to fight such a capable enemy as Goliath. David was likely to die, and his death would benefit nobody. Often people wrongly imagine that they are acting in faith (in other words, that they are trusting God). Really, they are acting in a foolish manner, as if the danger is not real. They are not trusting in God, but in their own thoughts, hopes and desires. David’s reply to Saul shows us his attitudes. This reply explains clearly why David had offered to fight Goliath. In other words, it shows how David considered himself able to defeat Goliath. Like many boys and young men in Israel, David had worked as a shepherd. That is, he looked after sheep. He was responsible to look after those sheep in every way. In particular, he had to protect them from wild animals. Lions and bears are some of the fiercest large wild animals. They were common in Israel at the time of the Bible. They are much stronger than a man (see for example 1 Kings 13:24 and 2 Kings 2:24). Only the bravest and strongest men were able to kill a lion (Judges 14:5-6; 2 Samuel 23:20). However, David had killed both a lion and a bear. He had killed animals that were stronger than him. David did not believe that the strongest man would win the fight. David had a close relationship with God; he was trusting God to rescue him (17:37). David was not pretending that there was no danger. However, God’s Holy Spirit was active in David’s life (16:13). By the power of his Holy Spirit, God had given David the faith (trust in God) to fight Goliath. Because David really was trusting God, there was no reason for him to be afraid of Goliath. THE ARTIST Ernst Seger (1865 1939), born in Neurode (Nowa Ruda, now Poland), studied sculpturing from 1884 at the Kunstschule in Breslau under Robert Härtel. From 1886 he worked in the Atelier of Christian Behrens, where he created the Eichendorff-Memorial for the Silezian City of Neisse. From 1893 to 1894 Seger stayed in Paris where he worked in the atelier of Auguste Rodin. However, Seger finally chose a ‘Jugenstill’ and a more ‘naturalistic’ or ‘Neuklassizismus’ style. His sculptures, modelled like the Greek antiques, were later greatly admired by the National Socialists. At the end of 1894 Ernst Seger went back to Berlin, founded his own atelier and created the Kaiser Wilhelm I memorial for the Silesian City of Glatz. In 1897 Seger created the sculpture ‘Jugend’ (‘Youth’), which was displayed at the ‘Große Berliner Kunstausstellung’ in 1898, at the ‘Große Berliner Kunstausstellung’ in 1899, at the ‘Münchener Glaspalast Ausstellung’ in 1899 and at the ‘Münchener Glaspalast Ausstellung’ in 1908. As a sculptor Seger regarded this as his first relevant work, his breakthrough. A copy of the sculpture in bronze, 1.60 metres high, was placed in the ‘Scheitniger Park’ in Breslau (now Wroclaw). In 1898 Segers ‘Diana’, the Roman Goddess of the Hunt, the Moon and Childbirth, was unvealed in Park Szczytnicki, Breslau, Polen (earlier ‘Schneitniger Park’). Until 1945 the sculpture stayed in the Schneitniger Park, Breslau. This part of the park is still called ’Dianagarten’. After the turn of the century the elegant female dancers and nudes by Seger gained great popularity. In 1905 Ernst Seger created -together with the sculptor Bernhard Sehring- the ‘Bismarck Brunnen’ (‘Bismarck Fountain’) in Breslau. This memorial-fountain (which still exists) represents the allegories ‘Kampf’ and ‘Sieg’ (‘Battle and Victory’). Seger’s ‘Verwundete Amazone’ (‘Wounded Amazon’), displayed at the Grosse Münchner Kunstausstellung in the Glaspalast in 1908, was placed in the garden of the ‘Kaufhauses Wertheim’ in Berlin. In the same year he was appointed as a professor. Seger’s marble sculpture ‘Kypris’, created in 1916, was placed in the Alten Nationalgalerie in Berlin. In 1925 the City of Berlin acquired his sculpture ‘Anbetung’ and placed it at the Johannaplatz. ‘Storchenbrunnen’ (‘Stork-fountain’), was placed in 1931 at the Adolf-Scheidt-Platz in Berlin. In 1935 the American newspaper publisher William Randolph Hearst bought Seger’s sleeping ‘Ganymede’. During the Third Reich Ernst Seger was commissioned numerous Hitler busts...

Original dark-brown patina. Dimensions Height: 9.25 inches (23.12cm) Width: 14.25 inches (35.6cm) Opening diameter: 11.4 inches (28.12cm).  

Signed and dated in the bottom right corner “LEV MEZHBERG ‘05” Dimensions Height: 50 inches (125cm) Width: 93 inches (232.5cm) Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova...

This beautiful end of Meiji Period Japanese Kyoto Fuzan Satsuma Ware double-handled vase has a gold plated intricate infinite circular relief pattern design and two images of goddess...

This very unusual American Mid-Century Modern cast stone sculpture by Rhys Caparn, "Extraterrestial" on the original black marble base is one of the sculptor’s famous pieces. This wo...

Signed ‘Archipenko’. Alexander Porfyrovych Archipenko (Ukrainia/American, 1887-1964) was an Ukrainian American artist best known for his original Cubist-inspired sculptural style....

Artist: Ivan Grigorewitch Olinsky (Russian-American, 1878 1962) Subject: Still life w/ Chinese porcelain figurine & fruits Period: 1920’s...

Antoine Bofill (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofi...

Artist: Sarudian Bin Mohmin Painting: RAGEDI PASIR SALAK I 1874 (Engl.: SALAK SAND TRAGEDY IN 1874) Origin: Indonesia Period: 1998 Medium: Mixed media on wood board Dimensions:...

This rare Renaissance Revival garniture, consisting of a clock and pair of boxes in form of chalices with hinged bonnets, is richly decorated with numerous hand-painted medallions with portraits of medieval French...

Bronze, dark-brown patina, unmarked. Measures: Height: 23” Width: 14” The notion of an “American Rococo” seems a contradiction in terms. The very word rococo is as French as Camembert. It connotes a style that reigned along with Louis XV in the aristocratic decadence of the 18th Century. It was garlanded, nonchalant, associated with erotic marshmallow nudes by Francois Boucher and foppish courtiers costumed as shepherds pretending they understood Jean-Jacques Rousseau when all they really wanted was romantic dalliance in the formal gardens of Versailles. In the history of painting it produced but one great artist, Antoine Watteau. By contrast, Americans of the period are remembered as the flinty inheritors of New England Puritans, full of rectitude and having not a moment for furbelow or frippery. Such few painters as were around included hard-nosed realists like John Singleton Copley and Charles Willson Peale. Well, as it turns out, life once again acts according to the principle of paradox. There was an American rococo. It came to us indirectly via England disguised under the name Chippendale. Now for the first time the style receives comprehensive survey in the exhibition “American Rococo, 1750-1775: Elegance in Ornament.” Jointly organized by New York’s Metropolitan Museum and the Los Angeles County Museum of Art, it opens here Sundaywith a spread of some 170 works of decorative art and a conscientious catalogue with essays by Met and LACMA curators Morrison H. Heckscher and Leslie Greene Bowman. There are at least two ways of looking at the decorative arts. Connoisseurs appreciate their design and craftsmanship. Those of sociological bent examine objects of material culture for their revelations of history and the temper of the times. Actually neither view is complete without the other. Stylistically the rococo reveals a longing for intimacy in its small scale and an urge to organic nature in its love of stylized vines, tendrils, tiny flowers and seashells. If it were a new manner being promoted by Madison Avenue today it would probably be called “Baroque Lite.” There is an ease about the style that makes it airy, but it has an underlying formality that bespeaks lives of gentrified cultivation rather than beer-bellied sloth. It’s fascinating to examine the flintlock firearms on view and find these weapons of death shaped and decorated with the most exquisite care by wood carvers and metal engravers. All of this is completely consistent with the main currents of 18th-Century European thought. In France, Rousseau sang the virtues of nature and the noble savage like a present-day ecologist. In England, John Locke...

Artist: Unknown. Painting: Rural Hilly Landscape with Lake and Railroad. Period: XIX century. Style: American School, Primitivism. Medium: Oil on canvas, framed. Dimensions: H: ...

Artist: Rolph Scarletti (Canadian, 1889 – 1984) Object: Modernist Abstract Composition Period: Ca. 1950’s Medium: Guache on paper, framed Dimensions (unframed): Height: 9-1/3” Width: 12” Dimensions (framed): Height: 22-3/4”” Width: 25-3/4” Rolph Scarlett (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer. As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you." Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making. Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now." Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy. Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery...

A charming set of bronze bookends. One of the bookends depicts a figure of a young girl with a questioning face expression, holding a bouquet; and the other a cupid, who peeks around...

This superb example of the ritual African ‘Brow Mask’ is a unique creation of a truly skillful artist from the Jimini tribe of the Ivory Coast (Côte d'Ivoire) during the Art Deco per...

Ignacio Gallo (Spanish/French, 1850-1935) was a Spanish sculptor, who was active as a sculptor and engraver in Madrid and Paris in the interwar period. His works show animal scenes, ...

This unusual porcelain electric perfume lamp depicts a concubine on an elephant, and probably was part of a boudoir decor of some sophisticated Parisian lady during the Art Deco era. Unmarked. Dimensions: Height 7-1/4 inches Width 3-7/8 inches Depth 6-1/2 inches Perfume/fragrance lamps...

Although unsigned, this Art Deco masterpiece in red and white art glass and wrought iron most probably by Charles Schneider. Charles and Ernest Schneider were a generation younger...

"L'amour Non Partagé" or "Unrequited Love", an allegorical timepiece by Max Blondat. The base of the clock is stamped with the artist name "Max Blondat", and carries a Valsuani found...

Although unmarked, this rare and important, grand but at the same exquisite patinated bronze vase has just a very few little details, defying the shape of the handles, as well as the...

Lovely large French silvered bronze sculpture of a semi-nude erotic dancer, signed in the bronze: Josselin. Original portorro marble base. Dimensions: H 15.25”, W 11.5”, D 2.7...

This exquisite sculpture masterfully captures the essence of rural life, featuring an elderly peasant standing proudly, reins held firmly in his hands. Behind him, nestled in a beautifully crafted sleigh, are his son and grandson, with the latter energetically guiding the horses using a whip. Each figure is adorned in traditional peasant attire, which not only adds authenticity but also reflects their connection to the land and their heritage. Their faces are wonderfully expressive, conveying a sense of pride, determination, and the bond of family. The craftsmanship of this outstanding silver sculpture, along with its original marble base, showcases an extraordinary level of artistry. The intricate details are so skillfully rendered that one can almost visualize the steam rising from the horses' nostrils in the crisp, frosty air. The air seems to vibrate with the sound of the horses’ hooves crunching through the fresh snow, creating a vivid auditory backdrop to the scene. As the troika gallops at full speed, it leaves behind distinct impressions of horseshoes on the pristine snow, marking their journey through the wintry landscape. This dynamic movement not only brings the sculpture to life but also invites viewers to imagine the story behind this moment—an intimate glimpse into the daily life and enduring spirit of a hardworking family united by tradition and the rhythms of nature. Notes: There are intact little bell on the yoke of a central horse, and an original detachable hallmarked whip. The original, intricately executed marble base is an integral part of the whole composition. The sculpture was never cleaned or polished, and has an original patina. Markings: Fully hallmarked with maker's marks IS (for Ignaty Sazikov...

Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" for "Bergman" in reverse (these marks used to disguise his identity on the erotic works). They are also often inscribed ‘Geschutzt’, which refers to the model/design being ‘registered’ or copyrighted; or not marked at all, especially if the pieces are miniatures, circa 1900. Dimensions: Height 0.88 inches (2.2 cm) Width 0.94 inches (2.4 cm) Depth 2.07 inches (5.2 cm) Franz Xavier Bergmann...

Signed “A.H. Devaulx”, and marked “Susse Fes Ed.20” Dimensions: Height 6-7/8”, width 7-7/8”, depth 4-1/4” This wonderfully unusual desktop sculpture of gilded bronze, depicting a beautiful female-centaur breastfeeding her cub is made in a classic romantic style of the Belle Epoque era by a remarkable French sculptor, Alexandre Henri Devaulx. Alexandre Henri Devaulx (French, 1856-1940) was the son of the noted sculptor of the Romanticism period, François Théodore Devaulx (1808–1870). Born in Paris, he studied under E. Devaulx, making his début as a sculptor at the 1876 Paris Salon with Portrait, a plaster medallion. Alexandre Henri Devaulx became a member of the Artistes Français in 1888, winning an award with merit in the same year.... Susse Frères Bronze Foundry, Paris - The French firm Susse Frères manufactured a daguerreotype camera, which was one of the first two photographic cameras...

A beautiful and very unusual Austrian Art Deco nightstand lamp with a semi-nude exotic dancer in a luxury headdress. The lamp base is made of combination of black marble and onyx, wi...

Signed: A. Valentin Original beveled glass Dimensions: Height 29” Width 27” Depth 1”.   

Signed “Igor ’67”, this beautifully cast patinated bronze sculpture depicts a woman on tiptoe, arms folded across h?? chest, head up and screaming with all her might, mouth wide open...

Émile Hébert, the wanderer, French Belle Époque patinated bronze sculpture, circa 1880s Dimensions: Height 24.75” Width 10.5” Depth 5.75” Pierre-...

This elegant and unusual nickeled bronze wall mirror with electrified sconces was designed by Maurice Dufrêne, an important French Art Deco designer in the 1920s. Maurice Dufrên...

Sunshine was a known local artist in Woodstock and upstate New York area during 1960s. This abstract painting is of Ashocan Reservoir, located in Ulster County, New York. The reservo...

This pair of extremely heavy chain links bookends are of 1970s Italian Architectural design. Although functional if used as intended, they form a kind of very interesting geometrical...

Frederic Rhead, a pair of English Arts & Crafts Glazed terracotta vases with Peacocks, circa 1900. This outstanding pair of English Arts & Crafts gla...

American Renaissance period. A Pair of Patinated Bronze Vases with Nymph and Satyr Bas-Reliefs by Roman Bronze Works, New York City, circa 1900. Dimensions: Height: 16 inches ...

Dimensions: Height 18-3/4 inches Diameter 8-3/4 inches Found in the middle section of the vase’ neck, there is a round glass medallion with letter “m”, indented into it for Maestro Imperio Rossi...

Dimensions: Unframed: 11-1/2 x 8-1/16 inches Framed: 17-1/8 x 12-7/8 inches Signed by the artist and dated ’64 in the lower right corner; inscribed in German: Zurich, Schweitz (Zurich, Switzerland) This unique work of art is a mixed-media collage on paper, where the artist had generously used his own pencil, gouache and watercolor drawing with a print cut-outs. Stanley R. Stangren (1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry. Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham. Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits. In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe. Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950s, Stangren opened and maintained a ceramic business in Trenton, New Jersey. Very few pieces of his work remain from this period. When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions. In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School. "I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said. "What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren...