1950s Paintings

Pigments on silk. Signature and seal read: Chiga saku (Acid free mounting with UV plexiglass) Painting dimentions: 59" H x 34" W, overall dimentions: 63 1/4" H x 38 1/2" W.

Mughal style miniature painting - gouache on paper with silver highlights - hand painted - depicting a court scene with the Mughal Emperor Jahangir weighing his son, Prince Khurram, as part of his 15th birthday celebration, his weight measured in gold, this sum then dispersed to those in need, with prominently featured jeweled courtiers, all set against a grand display of royal wealth featuring daggers...

Beautifully painted in detail. Soft, elegant style of painting. Acid free mounting with UV plexiglass.

Tanaka Tessen (b.1890) Dahlias and Roosters Taisho period, circa 1920 Framed painting. Mineral pigments and ink on silk. Dimensions (framed): H. 159 cm x W. 97 cm x D. 2.5 cm (62.5” x 38” x 1”) An ornate and complex composition in which the artist explores almost the entire painting surface. The coloration is bold and evocative and the tinted silk ground recreates the warm golden glow of sunset. Soft, luminous brushwork details the black feathers of the roosters, which seem to cloud and blur in counterpoint to the sharper points of the eyes and beaks. Their brilliant red combs balance the composition, echoing the rich burgundy hues of the dahlias; the flowers exquisite and lifelike. Dahlias were an exotic subject favored by painters of the Taisho era. The painting belongs to the school of Kyoto Nihonga, exemplifying the principles of decorative elegance and consumate brush technique with which it was intimately associated. Painters of the time relied on the Shijo school method, basing the forms of the composition from life sketches. Sometimes they were then integrated with elements derived from Chinese bird and flower...

Set of 6 19th century McKenney and Hall portraits of Native Americans. Hand colored lithographs from: The history of the Indian tribes of North Ameri...

Manner Of Luigi Maria Galea (1847-1917) circa 1900 The Grand Harbour, Valetta, early morning; and The Grand Harbour, Valetta, at dusk signed illeg...

Anonymous Summer willow and sparrows Taisho period, circa 1920 Framed painting. Mineral pigments, mica, gold, ink and gofun on silk Dimensions (framed): H. 98 cm x W. 135 cm x D...

Despite its explicit content, this intimate scene conveys a sense of tenderness and romantic love characteristic of Chinese erotic art. Known as “sp...

Gaston Sebire French, 1920-2002 Landscape with figures Oil on canvas 31 by 41 ½ in. With frame 38 by 48 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and Frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

Probably circa 1910, decorative painting with craquelure throughout. Old dark varnish. The sky near frame edge has thicker paint suggesting some later in painting. Stretcher marks sh...

Vintage Pichhavai painting on fabric of Krishna, Radha and female Gopis. Krishna walking with Radha and the Gopis by moonlight. The colors, details...

Probably a variation of ‘Spring’ After Boucher’s Four Seasons. Highly decorative. Typical rococo frivolity and color palette. Garlands and festoons of flowers with intertwined ribbon...