FOMOBOY

Eric White (b. 1968). Collusionary Amalgam, 2004. Giclee print on paper. Unframed. Ships rolled in tube. DESCRIPTION Eric White (American,1968), giclee on paper, pencil signe...

Allan D'Arcangelo (1930-1998) Red Bridge, edition 120. Serigraph on Arches paper, 35 x 46 inches. Signed, dated and numbered in pencil, lower margins. Ship rolled in tube with glassi...

Marc-Luc (French, 20th-Centurty). Men's French Art Deco Fashion Illustration, 1929. Ink on paper, sheet measures 9 x 12 inches, Framed measurement: 12.5 x 15.5 inches. Signed by ...

Nestor Fruge (1916-2012). Pirate's Alley, French Quarter, New Orleans, ca. 1970. Watercolor on paper, 14.5 x 20.5 inches. Measuring 21.5 x 27.5 inches framed. Born in Bayou L...

Christoph Weigel (1654-1725) Map of Austria and Slovenia, 1719. Hand-colored engraving on laid paper. Plate measures 15.25 x 12.75 inches. Framed measurement: 19 x 21 inches. Jo...

Boleslaw Cybis (1895-1957). Polish Peasant, 16th-century Attire, 1939. Conte and gouache with pencil on paper, sheet measures 18 x 23 inches. Signed by the artist and dated bottom...

Boleslaw Cybis (1895-1957). Polish Merchant, 16th-century Attire, 1939. Conte and gouache with pencil on paper, sheet measures 18 x 23 inches. Signed by the artist and dated botto...

Description Opaque water-based pigments with raised gold leaf and glass stones on canvas South India/presumably Tanjore, 19th century Illustration of Krishna the Butter Thief Krishna as the divine child enjoying a butterball and holding a pot of butterballs Attended by his mother Yashoda With lavish gold foil ornamentation Framed under glass with light brown wooden frame Dimensions, framed: 20.25 x 26.75 inches. Provenance: Private collection, Philadelphia. Tanjore painting...

Frances Norma Loring (October 14, 1887– February 5, 1968) Track Runner, ca. 1920's. Carved wood with small nail embellishments representing treads on left foot. Original wood stain. Very minor areas of wear evident in detail photos. Signed by artist with initials carved on side of base. Biography Loring was born in Wardner, Idaho, on October 14, 1887 to mining engineer Frank Curtis Loring (1859–1938) and Charlotte Moore. She studied at multiple schools including the Ecole des Beaux-Arts in Switzerland, the Academie Colarossi in Paris, the Art Institute of Chicago, the School of the Museum of Fine Arts at Tufts in Boston, and at the Art Students League of New York. At the Art Institute of Chicago Loring met Florence Wyle with whom she was to have a lifelong partnership. In 1909, Loring moved to New York City and was soon joined by Wyle. The first of the three studio homes they would share over their lives was located on MacDougal Alley, a lively artist colony in the heart of Greenwich Village. Living at no. 6, a converted stable with additional living space, they sculpted well-known portrait busts of each other. In 1913, Loring and Wyle moved to Toronto, where they began being referred to as "The Girls." As curators observe, such an appelation is one of "pre-sexual, adolescent identity", suitable to the ultraconservative Toronto of the day. It had overtones of homosexuality. Both of them quickly became major forces in the city and across the country, getting major commissions during World War I and II. In Toronto they rented a studio-home that occupied the top-floor above a carpenters shop at the corner of Church and Lombard Street called Hunters Inn. Eight years later, in 1920, Frances (aged 33) and Florence (aged 39) bought "The Church" at 110 Glenrose Avenue in the Moore Park neighborhood. The Loring-Wyle Parkette, located a block north of "The Church," at the northeast corner of Mount Pleasant Road and St. Clair Avenue East, is now home to their sculpture busts of each other. In 1928, Loring and Wyle were founding members of the Sculptors' Society of Canada with Alfred Laliberté, Elizabeth Wyn Wood, Wood's teacher and husband Emanuel Hahn and Henri Hébert...

Max Fleisher (1914-1977) Two Fashionable Women, 1971. Bronze, measuring 14.5 x 6.5 x 3 inches. Weighs 16 lbs. Signed and dated on base.

Fisher Ross Sauna, ca. 1977. Print measures 8 x 10 inches. 2026 digital print from the original in the Fisher Ross Archive. From an edition of 15 on archival paper produced by th...

Fisher Ross White Jock, ca. 1977. Print measures 8 x 10 inches. 2026 digital print from the original in the Fisher Ross Archive. From an edition of 15 on archival paper produced ...

Fisher Ross 10-Speed, ca. 1977. Print measures 8 x 10 inches. 2026 digital print from the original in the Fisher Ross Archive. From an edition of 15 on archival paper produced by...

Fisher Ross Torso, ca. 1977. Print measures 8 x 10 inches. 2026 digital print from the original in the Fisher Ross Archive. From an edition of 15 on archival paper produced by th...

Fisher Ross Portrait of a Kyle Hazzard (Ed Izzo), 1977. Print measures 4 x 6.25 inches. 2026 digital print from the original in the Fisher Ross Archive. From an edition of 15 on...

Douglas M. Olsen (b. 1960). #28, Elemental Concerns, 1980. Watercolor on rag paper, 15.5 x 22.5 inches. Signed, titled and dated on verso.

Douglas M. Olsen (b. 1960). The Purple People Eaters, 1979. Watercolor on rag paper, 15.5 x 22.5 inches. Signed, titled and dated on verso.

Douglas M. Olsen (b. 1960). #49, Stonehenge at Dawn, 1980. Watercolor on rag paper, 15 x 22 inches. Signed, titled and dated on verso.

Fisher Ross Portrait of a Couple, ca. 1977. Print measures 8 x 10 inches. Framed measurement: 10 x 12 inches. 2026 digital print from the original in the Fisher Ross Archive. Fr...

Fisher Ross Portrait of a Bearded Man, ca. 1977. Print measures 8 x 10 inches. Framed measurement: 10 x 12 inches. 2026 digital print from the original in the Fisher Ross Archive...

Fisher Ross Portrait of a Young Couple, ca. 1977. Print measures 8 x 10 inches. Framed measurement: 10 x 12 inches. 2026 digital print from the original in the Fisher Ross Archiv...

Maiden and Spirit Wolf, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed "Hood" lower left. Excellent condition. Unframe...

Man and Spirit Wolf, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed "Hood" lower left. Excellent condition. Unframed.

Hawk, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed. Signed "Hood" lower...

J Charles Arter (1860-19230 Flower Seller, ca. 1890. Oil on canvas board, 10.75 x 15 inches. Measuring 17.5 x 21.5 inches in original antique frame. Signed by artist, center lef...

Robert Steven Koffler (1938-2022). Untitled Triangle, 1980 Oil on canvas, 48 x 69 inches. Total measurement with wood frame: 49 x 70 inches. Signed and dated by artist, center r...

Anne Farber (American) Abstract Cityscape, ca. 1955/ Oil on canvas, 25 x 30 inches. Measuring 33 x 38 inches in periof wormy chestnut frame. Signed by artist on back of canvas an...

Bernard Segal (1907-1986). Cubist painting, ca. 1960. Mixed Media on paper, measures 6 x 9 inches. Framed measurement: 11.25 x 14.5 inches. Signed by artist lower left. Vintage ...

After Pablo Picasso (1881-1973) Beautiful offset lithograph reproduction of 1934 painting, Two Girl Reading. Print measures 8 x 10.5 inches. Original vintage wormy chestnut frame ...

Beautiful early landscape by American artist, Will Howe Foote (1874-1965). Bermuda Landscape, ca. 1890-95. Oil on on textured cardboard panel, measures...

Jules Engel (1909-2003) Untitled, ca. 1960. Beautiful ultra pale yellow color field painting verging on white. Hints of pink, orange and ...

Robert Steven Koffler (1938-2022). Unnumbered Triangle, 1981. Oil on canvas, 38 x 52 inches. Total measurement with wood frame: 39 x 53 inches. Signed and dated by artist, cente...

Robert Steven Koffler (1938-2022). Triangle XXX, 1982. Oil on canvas, 38 x 52 inches. Total measurement with wood frame: 39 x 53 inches. Signed and dated by artist, lower right....

Robert Steven Koffler (1938-2022). Violet Triangle, 1981. Oil on linen canvas, 38 x 52 inches. Total measurement with wood frame: 39 x 53 inches. Signed and dated by artist, cen...

Robert Steven Koffler (1938-2022). Untitled, 1963 Oil on masonite panel, 36 x 48 inches. Total measurement with wood frame: 38 x 50 inches. Signed and dated by artist, lower ri...

John Higginbotham (b.1963). Serengeti, 1984. Pencil on paper, image measures 15 x 21 inches. Framed measurement: 23 x 29 inches. Signed and dated by artist lower right.

Petr Zlamal (b. 1949) Czech Cityscape, 1971. Oil on linen, 20 x 28 inches. Measuring 24 x 32 inches in original frame. Signed and dated by artist, lower right. A rare example ...

Irvin Nahan (b.1927) Interior with Standing Dog, 1970. Watercolor and pencil on paper. Image measures 5 x 6.5 inches. Framed measurement: 10 x 12 inches. Signed and dated by ar...

Nobuku Koike (Japanese, b.1937) La Cour, 1974. Color etching on Arches paper. Plate measures 7.5 x 8.5 inches. Framed measurement: 12 x 13.5 inches. Signed, dated, numbered an...

Jay Weaver (?-1960). Is This Necessary?, 1952. Oil on canvas measuring 12 x 16 inches. Framed measurement: 18 x 22 inches. Signed by artist lower right. 1952 Salmagundi label af...

John Higginbotham (b.1963). Serengeti, 1984. Pencil on paper, image measures 15 x 21 inches. Framed measurement: 23 x 29 inches. Signed and dated by artist lower right.

A pair of antique period prints by American photographer Charles Christian Cook (1873-1957). "Wonderful" and "Bonnie Khayam". ca. 1920's. Platinum prints glued down to backing boa...

Beautiful cubist portrait depict a Harlequin and Child playing violin. Oil on canvas, measuring 23.5 x 35.5 inches. Framed measurement: 25.5 x 37.5 inches. Unsigned.

Boleslaw Cybis (1895-1957). Surrealist Landscape with Grecian Urns and Figures, ca. 1930's. Ink, pencil and gouache on paper, image measures 10.5 x 13 in...

Elsie Manville (1922-2012) The Hand Mirror (Self-portrait Still Life), ca. 1955. Oil on canvas measuring 10 x 12 inches. Signed by the artist lower right. Framed measurement: 1...

L. Dano Keys (Chickasaw, 1919-1980) Heritage of a Chief, 1970. Tempera on blue paper, 12 x 16 inches. Signed and dated by artist, lower right. Original matting and labels. No fr...

Maurice Libby (20th Cent.) Woman of Martinique, 1952. Oil on artist panel, 12 x 16 inches. Measuring 20 x 28 inches in a deep vintage chestnut frame. Signed lower right. Origina...

Boleslaw Cybis (1895-1957). Lowicz Girl, ca. 1930's. Conte on paper, sheet measures 18 x 23 inches. Signed by the artist some years after its creation in blue ink, on verso bottom...

Boleslaw Cybis (1895-1957). Unnamed Horses (Wild Horses), ca. 1930's. Conte on paper, sheet measures 20 x 23 inches. Signed by the artist some years after its creation in blue ink...

Boleslaw Cybis (1895-1957). Prancing Ram, ca. 1930's. Conte on paper, sheet measures 18 x 23 inches. Signed by the artist some years after its creation in blue ink, on verso botto...

Dick Ruhl (American, 1926-1991) Original Gouache Painting of Goofy, one of three images created specifically for Disney Interview portfolio, Los Angeles 1943. (see reference in bio below). Image measuring 12 x 18 inches. Signed & dated 1943 lower right. Framed measurement: 19 x 25 inches. Dick Ruhl was the grandson of German immigrants who settled in Nebraska as farmers brought to the US by the federal government to raise food for a growing population after the Civil War. On his mother’s side, his family dates back to Nathan Hale. Her father was in the Union Army and given a small farm by the government near Guthrie, Oklahoma. Dick’s parents, John and Lucille, were married in Chandler in 1902, and his dad got a job with the Frisco Railroad. Since the main yard and a hub were in Sapulpa, they moved here, initially settling at Elm and Lee street, but later they bought five acres at 1300 Cleveland and built a simple home with a water well, outdoor toilet, and coal oil lamps. Dick is a Sapulpa native who left his hometown at 16 to become an animator during the “golden age” of Disney Studios. Photo courtesy of Sapulpa Historical Society. Dick finally came along in 1926 and was born in the Sapulpa City Hospital at Division and Cleveland Streets. According to Dick, his doctor, William Polk Longmire—a famous Sapulpan in his own right—named Dick after himself on his birth certificate, listing Dick’s name as “Polk Knox Ruhl.” It wasn’t until 1937 that it was discovered and changed to James Richard Ruhl. Dick was doing farm chores at 5 years old, mostly feeding the animals and milking the cow. Every evening, he delivered milk to his last customer, a cousin named “Nellie,” whom Dick says was a bootlegger. Dick recalls one evening as he put Nellie’s milk in her icebox, a handsome gentleman named Charlie took him up on his lap. “He was wearing a gun, which impressed me,” Dick said, adding that Charlie gave him a shiny half dollar as a gift. “Each evening I rushed to Nellie’s, hoping to meet Charlie again, until one evening, she told me he would never be back.” Nellie showed Dick the evening Sapulpa Herald announcing that Charles “Pretty Boy” Floyd had been killed. Dick started school at 5 years old and said his teacher “loved and whipped me through first grade.” It must have done some good because he was able to skip the 2nd grade. In 3rd grade, his teacher, Miss Giles, had her students draw a house. “I don’t know why, but I drew my house in perfect perspective,” Dick said. “She bragged about my talent and it was then I decided to become a great artist.” Dick turned a small chicken house at his parents’ farm into his first studio and gallery. “My clients were ducks, chickens, and an occasional pig,” he said. As the country fell into the Great Depression, Dick said “it didn’t mean anything to me. We raised our food and Dad eked out a small wage on the railroad. Mom made our clothes from feed sacks purchased at Lee Nevin’s Feed Store, and we had credit at Bodkin’s Grocery, House’s Grocery, and Katz Department Store.” It was in High School that Dick began to really pursue his creative talents again. “The WPA sponsored an art class at the library in the basement,” he said. “My algebra teacher let me attend the art class instead of algebra.” Dick said his art teacher was Henry Simpson—a retired Western artist from Ft. Worth— and another teacher named Mrs. Casteel, whom Dick said “gave me the greatest advice I have ever learned: ‘Don’t think you’re all that good! You’ll meet artists who are better than you, but don’t get discouraged, keep doing your thing.’” Disney comes calling Dick was working at the Criterion Theatre in Sapulpa when Disney released “Snow White and the 7 Dwarfs...

Paul Oberst (1955-2018) Untitled, 1982. 9.5 x 11 inches, image; 16.5 x 18 inches framed. Signed on reverse bottom.

Boleslaw Cybis (1895-1957). Taos (Timeless Ritual), Indian Negro Series, 6 of 18. Conte on paper, sheet measures 18 x 23 inches. Small tear in sheet left margin. Evidence of alteration of image lower left where writing was probably removed before photographs require to create lithograph. The area has oxidized consequently. Signed by the artist some years after its creation in blue ink, lower left, ca. 1950's. the sheet is hinged at top margin, not glued down to backing board. Provenance: Cybis Archive. This original drawing was created in 1939-40 during an extensive visit to the Southwest US. The artist created 18 portraits and titled the series "Indian Negro Serie". Of the 18 images, 9 were selected to be included in a limited edition lithographic series some 30 years after creation. 1000 editions were printed. This is the original drawing upon which one of the images is based, and is thus unique. Of the 18 original drawings, 2 are owned by the polish government, 5 are in our collection and the other 11 are whereabouts unknown. The artist and his wife opened a porcelain factory in the 1950's, Cybis Studios. The only non-porcelain retail offering from the Cybis studio was a 1970s art issue called the Folio One. This was a limited edition reproduction series taken from nine conté drawings of Native Americans made by Boleslaw Cybis in 1939. Conté is the name of a type of crayon made of compressed charcoal or graphite mixed with wax or clay. The artist Georges Seurat was particularly fond of using conté for his drawings. Boleslaw Cybis was fascinated by the Native American (then typically referred to as American Indian) culture and peoples. This may seem odd when you consider that much of his ceramic-based works were distinctly Rococo and/or Old World European in style….a pretty stark contrast, I’d say! But Cybis was nothing if not eclectic in his tastes. The originals were reproduced as color lithographs, in an edition of 1000, in 1970. This meant “1000 of each individual print.” At present its original issue pricing is unknown, but a Spring 1972 dealer price list shows the full set of nine at $500. Individual prints could also be purchased at either $50 (for Comanche, Shoshone, or Apache) or $65 (for any of the other six)… representing a $40 savings when buying the entire folio at once versus singly. The Spring 1981 price list is the final one that shows the Folio One set for sale, still at the same price ($500) as it was a decade earlier. Individual prints are not available on that list. According to the 1979 Cybis catalog text “Each of the 12″ x 20″ prints is hand-numbered on heavy Beckett rag-content paper, with a specially designed validating hallmark in the lower right-hand corner, and carries an accompanying page with a brief tribal history.” The hallmark is blind-embossed, not surface printed. However, the Spring 1972 dealer price list cited above described the prints as being 17″ x 23″ in size. Checking past auction listings for the set, the actual prints are indeed 17″ x 23″, which means that the 12″ x 20″ size probably refers to the image area. The overall size of the set’s burlap-covered box is 18.5″ x 24.5″. These nine portraits represent seven different tribes: the Comanche, Shoshone, Taos, Apache, Hopi, Mohave, and Yuma. A bit of trivia is that only two of those tribes (Apache and Shoshone) were featured within the modern studio’s North American Indians porcelain...

Boleslaw Cybis (1895-1957). Comanche (Indomitable Spirit) Indian Negro Series, image #8 of 18 unique image that comprise the drawing series. Conte on paper, sheet measures 18 x 23 inches. Signed by the artist some years after its creation in blue ink, lower left, ca. 1950's. The sheet is hinged at top margin, not glued down to backing board. The sheet has an encircled 1 notation on back signifying that it is the first of 9 images selected for the lithographic series. Provenance: Cybis Archive. This original drawing was created in 1939-40 during an extensive visit to the Southwest US. The artist created 18 portraits and titled the series "Indian Negro Serie". Of the 18 images, only 9 were selected to be included in a limited edition lithographic series some 30 years after creation. 1000 editions were printed. This is the original drawing upon which one of the images is based, and is thus unique. Of the 18 original drawings, 2 are owned by the polish government, 5 are in our collection and the other 11 are whereabouts unknown. The artist and his wife opened a porcelain factory in the 1950's, Cybis Studios. The only non-porcelain retail offering from the Cybis studio was a 1970s art issue called the Folio One. This was a limited edition reproduction series taken from nine conté drawings of Native Americans made by Boleslaw Cybis in 1939. Conté is the name of a type of crayon made of compressed charcoal or graphite mixed with wax or clay. The artist Georges Seurat was particularly fond of using conté for his drawings. Boleslaw Cybis was fascinated by the Native American (then typically referred to as American Indian) culture and peoples. This may seem odd when you consider that much of his ceramic-based works were distinctly Rococo and/or Old World European in style….a pretty stark contrast, I’d say! But Cybis was nothing if not eclectic in his tastes. The originals were reproduced as color lithographs, in an edition of 1000, in 1970. This meant “1000 of each individual print.” At present its original issue pricing is unknown, but a Spring 1972 dealer price list shows the full set of nine at $500. Individual prints could also be purchased at either $50 (for Comanche, Shoshone, or Apache) or $65 (for any of the other six)… representing a $40 savings when buying the entire folio at once versus singly. The Spring 1981 price list is the final one that shows the Folio One set for sale, still at the same price ($500) as it was a decade earlier. Individual prints are not available on that list. According to the 1979 Cybis catalog text “Each of the 12″ x 20″ prints is hand-numbered on heavy Beckett rag-content paper, with a specially designed validating hallmark in the lower right-hand corner, and carries an accompanying page with a brief tribal history.” The hallmark is blind-embossed, not surface printed. However, the Spring 1972 dealer price list cited above described the prints as being 17″ x 23″ in size. Checking past auction listings for the set, the actual prints are indeed 17″ x 23″, which means that the 12″ x 20″ size probably refers to the image area. The overall size of the set’s burlap-covered box is 18.5″ x 24.5″. These nine portraits represent seven different tribes: the Comanche, Shoshone, Taos, Apache, Hopi, Mohave, and Yuma. A bit of trivia is that only two of those tribes (Apache and Shoshone) were featured within the modern studio’s North American Indians porcelain...

Boleslaw Cybis (1895-1957). Apache (Image Makers), Indian Negro Series, image #15 of 18 unique image that comprise the drawing series. Conte on paper, sheet measures 18 x 23 inche...

Boleslaw Cybis (1895-1957). Yuma (Vanished Dreams), Indian Negro Series, image #7 of 18 unique image that comprise the drawing series. Conte on paper, sheet measures 18 x 23 inches. Unsigned. Staining lower left is a consequence of removal of writing prior to lithographic photography process. Small hole on paper, lower region, patched with white tape. The sheet is hinged at top margin, not glued down to backing board. The sheet has an 9 notation on back signifying that it is the 9th and final image selected for the lithographic series. Provenance: Cybis Archive. This very unusual portrait is titled Apache ‘Image Makers’ and depicts the ritual Devil Dancer or Spirit Dancer headdress and fully-swathed face. In Apache culture and legend, the Devil Dancer is a somewhat mischievous although benevolent spirit. This original drawing was created in 1939-40 during an extensive visit to the Southwest US. The artist created 18 portraits and titled the series "Indian Negro Serie". Of the 18 images, only 9 were selected to be included in a limited edition lithographic series some 30 years after creation. 1000 editions were printed. This is the original drawing upon which one of the images is based, and is thus unique. Of the 18 original drawings, 2 are owned by the polish government, 5 are in our collection and the other 11 are whereabouts unknown. The artist and his wife opened a porcelain factory in the 1950's, Cybis Studios. The only non-porcelain retail offering from the Cybis studio was a 1970s art issue called the Folio One. This was a limited edition reproduction series taken from nine conté drawings of Native Americans made by Boleslaw Cybis in 1939. Conté is the name of a type of crayon made of compressed charcoal or graphite mixed with wax or clay. The artist Georges Seurat was particularly fond of using conté for his drawings. Boleslaw Cybis was fascinated by the Native American (then typically referred to as American Indian) culture and peoples. This may seem odd when you consider that much of his ceramic-based works were distinctly Rococo and/or Old World European in style….a pretty stark contrast, I’d say! But Cybis was nothing if not eclectic in his tastes. The originals were reproduced as color lithographs, in an edition of 1000, in 1970. This meant “1000 of each individual print.” At present its original issue pricing is unknown, but a Spring 1972 dealer price list shows the full set of nine at $500. Individual prints could also be purchased at either $50 (for Comanche, Shoshone, or Apache) or $65 (for any of the other six)… representing a $40 savings when buying the entire folio at once versus singly. The Spring 1981 price list is the final one that shows the Folio One set for sale, still at the same price ($500) as it was a decade earlier. Individual prints are not available on that list. According to the 1979 Cybis catalog text “Each of the 12″ x 20″ prints is hand-numbered on heavy Beckett rag-content paper, with a specially designed validating hallmark in the lower right-hand corner, and carries an accompanying page with a brief tribal history.” The hallmark is blind-embossed, not surface printed. However, the Spring 1972 dealer price list cited above described the prints as being 17″ x 23″ in size. Checking past auction listings for the set, the actual prints are indeed 17″ x 23″, which means that the 12″ x 20″ size probably refers to the image area. The overall size of the set’s burlap-covered box is 18.5″ x 24.5″. These nine portraits represent seven different tribes: the Comanche, Shoshone, Taos, Apache, Hopi, Mohave, and Yuma. A bit of trivia is that only two of those tribes (Apache and Shoshone) were featured within the modern studio’s North American Indians porcelain...

Boleslaw Cybis (1895-1957). Mother and Baby, Indian Negro Series, image #15 of 18 unique image that comprise the drawing series. Conte on paper, sheet measures 18 x 23 inches. Si...

Beautiful monumental Abstract Expressionist painting, ca. 2000. Mixed media on natural Belgian linen canvas, 46 x 66 inches.. Unframed and unsigned. Staples are on back side prese...

Harry Finney (fl.1875-1945) Portrait of Dorothy with her Coton de Tulear, 1940. Oil on canvas, 25 x 31 inches. Signed, dated and dedicated lower left. We have an antique frame (n...

Boleslaw Cybis (1895-1957) Portrait of a Girl, ca. 1930. Oil on sized paper glued down to cardboard panel. Sheet measures 17.75 x 23.75 inches. Measures slightly larger with cardboard panel. Highly distressed condition but the piece could be beautifully restored with professional conservation. No inpainting or restoration. Unsigned. Provenance: Cybis Porcelain...