Phoenix

Antoine-Louis Barye (1796-1875.) Bronze maribou stork and snake with rich brown patina, signed “Barye” on the embankment. Antique edition cast marked F. Barbedienne Fondeur (caster.)...

Early Steven Sles oil on linen painting circa 1955. Due to his Cerebral Palsy, Sles used his mouth to paint his works and studied under Hans Hoffman. This work mixes thick texture an...

This gracefully flared ceramic bowl bears her traditional “feelie” soft glaze with large drips showing near the base. Rich brown with cream interior. Measure: 3.5" H x 5.25" W. Mint...

Olin Dows Surrealist Subject Painting. Signed lower left and dated 1965. The work is in excellent condition and is unframed tempera on masonite. It measures 10 1/4"h x 13 1/2"w. This...

Shiro Ikegawa (1933-2009) studied art and oil painting in Japan at the Tokyo University of Arts and later moved to Los Angeles in 1956 where he attended ...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

Excellent bronze of boy and rabbit measuring 15 1/4"H x 5 1/2"W x 5"L. By Massachusetts/New Mexico/New York artist Warren Wheelock (1880-1960). The work...

Vintage fused glass, circa 1960s. By Michael (1908-1999) and Frances (1912-2004) Higgins. Decorated with a trees and stems motif with gold detail. Etched signature is seen on the ...

Original lithograph by Mexican artist Emilio Amero (1901 -1976) created 1950. Titled: “Harmonica Blues.” Edition size is 3 of 25. Signed in pencil lower right. In excellent condition. Presents in a 4-ply museum mat. Image size: 9 5/8"h x 12 1/4"w. Born in the village of Ixtlahuaca, in the state of Mexico, Emilio Amero counts Spaniards and Otomi Indians among his ancestors. Shortly after his birth, the family moved to Mexico City. In 1911 he began his studies in art at the Academy of San Carlos. He also studied drawing privately with Antonio Gomez, a family friend and well-known newspaper artist. At the academy in 1917, he became acquainted with Diaz de Leon, Rufino Tamayo, Ramon Alva de la Canal, Enrique Ugarte, and Leopoldo Mendez-all students there at the time. Later he joined the open air school in Coyoacan, founded and directed by Alfredo Ramos Martinez...

Beautiful flare top Rookwood Pottery vase, 1946. In excellent condition. Measures: 7 1/8" H x 7 1/4" W. Beautiful 1946 Rookwood pottery vase, signed and decorated by Loretta Hol...

Textured oil on linen painting by Steven Sles, circa early 1960s. Sles was handicapped and used his mouth to paint. He studied under Hans Hoffman. This ex...

Very large-scale plaster and mosaic tile table lamp from Italy, circa early 1960s. This example has inlaid mosaic tiles ranging from turquoise to black...

Extremely rare vintage Narumi 'Parisienne' teapot. The pot filt about 40 Oz of liquid and is about 20" in circumference at its widest part. The pot is in excellent condition, witho...

Germaine Richier (1902-1959) etching Richier was a French artist noted for making animal and insect figures with human attributes. Etching, figure and owl, circa 1950. Unframed, matt...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mo...

acrylic on brushed aluminum b. 1950, Teaneck, New Jersey One of the most powerful tools an artist possesses is an ability to bridge the gap between what is considered real and what is illusion. This ability to alter or enhance reality is the very crux of what an artist is all about, and their success at attaining this is usually the defining element as to their stature in the field, as either an abstract or realist painter. Occasionally a painter is able to combine these two distinct disciplines and create an art form, which holds a viewer’s attention by balancing the paradox of the flat painted surface with the illusion of depth and space. "As a painter, it is important for me to address the concerns of painting what has been done-and what can I add to this. My work on aluminum is an attempt to use the qualities of refracted light, and have these qualities interact with the painting. The completed image is produced both by refracted light, created by the use of various wire brushes and paint airbrushed in transparent layers. Within this process about half of the image is produced by refracted light alone, simulating paint, and about half by paint." For over twenty years, David Kessler followed a Photo-Realist tradition, often depicting the Arizona desert landscape...

acrylic on canvas

SIGNATURE AND YEAR ON VERSO b. 1942, Elgin, OK Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. ...

Robert Whitton one off aluminum drafting stool circa late 1980s. This architectural example has been newly powder coated in matte black.

A set of 6 Cristal D'Argus - Durant crystal goblets. Each glass is 8.5" high and 3" wide at the opening. Excellent condition.

SIGNATURE AND TITLE ON VERSO b. 1968 Elkhart, IN Travis Rice is an artist currently residing in Phoenix, AZ where he teaches within the Fine Arts Department at Phoenix College. Ori...

Well done bronze by Polish/Israeli artist Richard Shiloh (1946-2012). Title: Dancer on the Bar. Created circa: 1970's - 1980's. Measures: 13 1/2"h x 7"w. Edition size 5 of 8. The work is in excellent condition with no damage. The signature, edition size and foundry mark are seen on the base. Richard Shiloh is an internationally recognized Israeli figural...

Beautiful Keramis vase with repeating stylized bird design around the center. Measures: 12" H x 8" D. Mint condition with no flaws. Marked on the base: Keramis, made in Belgium and...

Lon Megargee 1883-1960 "The War Bonnet" Wood block print Signed: original pencil signature, lower right Image size: 11 x 11 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew...

Wonderful woodblock by Taos artist Howard Cook (1901-1980). Titled: “Giant’s Thumb” (alternate title: Monument Rock).” Edition: 50. Image size: 14"h x 8 1/8"w. Sheet size: 14 1/2"h ...

acrylic on linen 12 x 12 x 3 inches Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geom...

oil on paper In his abstract paintings and prints, Daniel Brice explores both the physicality and the intellectual and emotional resonance of color. Based in sun-drenched southern ...

layered acrylic panel sculpture Eric Zammitt’s work alludes to the dynamics and interplay of dual elements: matter and energy, spirit and body, emotion a...

Pillin is known for her whimsical designs and a re-occurring motifs of women, birds, horses and flowers. Decorated ceramic footed bowl by Polia Pillin (1909-1992). Signed on the bottom: Pillin. Perfect condition, no chips, cracks or repairs. Measures: 2.75" H x 7.38" D. Polia Pillin was a painter and ceramist. Born in Poland, 1909, she immigrated to Chicago in 1924. She studied there at the AIC and Jewish Peoples...

This beautiful cameo glass vase signed by the artist measures 9"h x 6 1/4"d. The two ethereal swimming figures appear to be a woman and a merman. This striking blue and purple vase h...

This modern art glass bowl is internally decorated with botanical designs. It's in mint condition and marked on the bottom Kosta, Warff & 57368. It is certainly made by the hands o...

acrylic on canvas, over concave wood panel Born in Los Angeles in 1962, Moses attended California Institute of the Arts from 1979 to ...

SIGNATURE AND TITLE ON VERSO b. 1968 Elkhart, IN Travis Rice is an artist currently residing in Phoenix, AZ where he teaches within the Fine Arts Department at Phoenix College. Ori...

chenille stems, mixed media platform, polished stainless steel cylinder, edition 1 of 1 Devorah Sperber’s work exists at the intersection of art, science, and technology. Following ...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

Hugh Acton chrome and granite side table circa early 1970s. This example has a finely grained grey granite top and sleek chrome base.

Sir Jacob Epstein figurative pencil drawing circa early 1930s, with provenance available. There is a drawing on the front and back of the same piece of paper and thus the buyer is ge...

laminated acrylic plastic Zammitt’s work alludes to the dynamics and interplay of dual elements: matter and energy, spirit and body, emotion and intellect. It is simultaneously abou...

b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with her family in 1993, Hacche attend...

Set of two art glass vases most likely by Arthur Percy for Gullaskruf, Sweden, 1950s Smoky blue color One measures: 16 5/8" H x 4" D One measures: 12 1/4" H x 3 1/2.

Drypoint on paper by famous Taos Artist Gene Kloss (1903-1996). Titled: “Pueblo Dancer.” Pencil signed lower right and in excellent condition. Image measures: 8" H x 6" W. Sheet size...

stainless steel, vinyl emulsion

poured acrylic on canvas 1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts ...

Early Steven Sles oil on linen painting circa 1964. Sles was a mouth painter with very limited use of his hands. He was also a student of Hans Hoffman. This example has a wonderful l...

Studio cabinet piece with rich brown glaze. Really nice partial lava glaze, circa late 1950s. Mint condition. An experimental piece I purchased directly from the Scheiers man...

Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. His canvases barely contain the landscape painted...

Original lithograph by Charles Keller depicting the subway being built in New York on 6th Avenue in 1937. This print is inscribed lower left: “To W.B.” The print is in excellent con...

Clare Leighton (1819-1989) (Connecticut Artist) original wood engraving on paper. Copy number 14 of the edition of 50 signed and numbered by the ar...

Cerused oak perched warrior lamp, circa early 1950s. This example in the manner of Samuel Marx and Paul Laszlo is sold with a custom gray silk shade. Sha...

pastel on paper b. 1964 I became interested in landscape painting because there were no confines, except the edge of the paper and an ever-changing display of color, rhythm, and texture outside my front door. Landscape painting is a method that expresses my inner response to and reverent feelings for nature. I look for connections between things—how one color flows into another, forms engage and separate, how one point in space influences another. The changes focused along the horizon are constant; they are governed by the seasons, the weather, or the cyclical nature of the agrarian landscape. There are no grand gestures, just subtle variations that, when combined, create a certain splendor. I convey in my paintings what is most pleasurable to me, such as discovering tenuous beauty in spontaneous cloud formations, and the repetition of endless corn and soybean rows captured on a rolling landscape. The process begins with a "drive-by-shooting" and a sketchbook. I make large pastel paintings...

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

SIGNATURE AND TITLE ON VERSO b. 1968 Elkhart, IN Travis Rice is an artist currently residing in Phoenix, AZ where he teaches within the Fine Arts Department at Phoenix College. Ori...

Cast aluminium nude sculpture by architect and artist Paolo Soleri (1910-2013). Soleri is well known for his experimental community, Arcosanti, just north of Phoenix where his cast w...

1970s-80s torchiere touch table lamps. Three available individually but can also sell as a set of two or three. These are tall at 29.25” with a 14” di...

acrylic on linen 53 x 45.25 x 4 inches b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are b...

acrylic on plywood With the series titled We Share the Same Sky and New Objects Same Sky, my choice of natural wood as a material is influenced by the rich heritage of my father and...

Lon Megargee 1883-1960 "The Sheepherder" Wood block print Signed in plate, lower right Image size: 10 x 10 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

painted wood Peter Millett is a seasoned traveler, who draws inspiration from his extensive trips through North America, South America, Southeast Asia, and the Middle East; explorin...