- FELIX ZIEM O/B IMPRESSIONISTIC CITYSCAPE
FELIX ZIEM O/B IMPRESSIONISTIC CITYSCAPE PAINTINGFelix Ziem (French, 1821-1911) atmospheric oil on board painting or study of a cursorily-described cityscape, possibly a Dutch or French scene. A row of buildings stand at left and a tall structure, likely a mill, rises at center right, all below a cloudy sky. Rendered with gestural brushwork in shades of purple and yellow with maroon highlights and areas of impasto. Signed "Ziem.," lower left. Housed in an ornate giltwood frame. Board: 9 1/4" W x 6 1/4" H. Frame: 13" W x 10" H. Biography: Felix Ziem's humble origins and his training in architecture and design outside the workshops of Ecole des Beaux-Arts in Paris transformed him into an eccentric, unclassifiable, and independent artist. His career, however, was an exceptional commercial success. He was the first artist whose work the Louvre acquired while he was still alive. His clientele consisted of English nobility, Russian princes, and French aristocrats, allowing him to fully enjoy his art and travel the world. After 1842, Ziem traveled almost every year. Italy, Holland, Russia, Germany, England, Turkey, Lebanon, Egypt, Greece, and Algeria all served as pretexts for different genres: landscapes, architectural drawings, portraits, and copies of great masters. He became close with the artists of the Barbizon school, which from the 1830s onwards favored creativity and considered the representation of landscape to be above all genres. At the same time he was also profoundly influenced by the Dutch masters. Yet he modernized all this in his style of painting with its very fast, very supple technique, which left room for a diversity of brush strokes and the intensity of color. Ziem was also inspired by English painters such as Turner and Bonington, as well as Italian masters including Canaletto and Guardi. (Source: Excerpted from Pera Museum)
Condition:
Condition: is excellent, with faint craquelure in lower right quadrant. Gilt loss throughout frame, along with separated but stable lower left and upper right corners and minor, scattered accretions, especially to fillet at right and in upper left corner.
- HOYLE, EDMOND. THREE ANTIQUARIAN EDITIONS
HOYLE, EDMOND. THREE ANTIQUARIAN EDITIONS OF HOYLE’S GA...Hoyle, Edmond. Three Antiquarian Editions of Hoyle’s Games. Including Hoyle’s Games (London: T. Osborne, ca. 1770s, fifteenth Edition; chipping and wear on cover, foxing throughout); Hoyle’s Games Modernized (London: Routledge, Warne, and Routledge, 1864; replaced endpapers) by George Frederick Pardon; and The American Hoyle (New York: Dick & Fitzgerald, 1892; pencil writing on endpaper). Condition: very good for latter volumes, except where noted.
- HOFFMANN, PROFESSOR. EIGHT VOLUMES ON
HOFFMANN, PROFESSOR. EIGHT VOLUMES ON MAGIC AND PUZZLES...Hoffmann, Professor (Angelo J. Lewis). Eight Volumes on Magic and Puzzles. Including Puzzles Old and New (two copies, 1893/n.d., variant covers; both bindings broken, one volume lacking a page, cut-out illustration to another page); Hoyle's Games Modernized (n.d.); Modern Magic (Philadelphia, n.d.; jacket taped to covers); More Magic (Philadelphia, n.d.); and three volumes on tricks with Cards, Dice, Dominoes, and Miscellaneous apparatus (Philadelphia, n.d.). 8vo. Light or mild shelfwear, with other faults as noted.
- TAMMY GARCIA, SANTA CLARA (B. 1969),
TAMMY GARCIA, SANTA CLARA (B. 1969), BIRDHAUS, PATINATED BRONZE, 24"H X 14 1/4"W X 11 1/4"DTammy Garcia, Santa Clara, (b. 1969) Birdhaus, patinated bronze signed and numbered 6/30 at base. Biography from Blue Rain Gallery: Tammy Garcia is a Pueblo potter and sculptor whose work embodies both classic design and modern iconography. Her ceramic works encompass a progressive evolution of forms that include traditional effigies, water jars, and storage jars to non-traditional and modernized asymmetrical shapes. Given the dedication and attention to detail on these singular works, she only produces a limited number of new ceramic pieces each year. Throughout Garcia's artistic career, she has explored designs that are identifiable designs incorporated from ancient and historic Puebloan motifs including elements of nature, bird abstractions, and bands of repeating feathers, at once recognizable yet composed in manners that defy convention. She also explores fresh design sets that are not exactly prescribed themes found on Pueblo pottery—scallop shells, skulls and cross bones, graffiti lettering and a diverse repertoire of Chinese imagery. A new and rather timely example of her pushing the design aesthetic includes use of imagery from the pulp magazine covers that reached their peak of popularity in the 1920s and 1930s, offering an inexpensive, yet titillating escape from the troubles of the day. Pushing beyond the limits of natural clay and the "vessel" form, Garcia also forges new paths in bronze and glass, which mark a distinct change of direction within the larger contemporary Native American sculpture arena. Often referencing modernist aesthetic movements, such as Art Deco and Bauhaus, Garcia has constructed a Neo-Pueblo design vernacular as seen on twisting, totem-like, architectural forms that shoot up to the ceiling with high and low relief carvings reminiscent of her pottery. Her sculptures can act as two-dimensional canvases as well, evidenced on life-size bronze and glass panels whose surfaces aptly relay detailed narratives. Garcia's exploration of bronze as a medium is best described in her own words: "I love working in bronze because I'm able to create on a much larger scale than I can with pottery. It gives me a sense of freedom, allowing me to experiment. I also love the variety of colors and patinas available to me—I'm always looking for new ways to use them." patinated bronze Dimensions: 24"H x 14 1/4"W x 11 1/4"D
- CHINESE CONTEMPORARY HANDMADE PAPER
CHINESE CONTEMPORARY HANDMADE PAPER PAINTINGS China,20th CenturyThree works depicting a stylized woman over a modernized background.
- 1920 GERMAN RELIGIOUS NATIVITY SCENE
1920 GERMAN RELIGIOUS NATIVITY SCENE PAINTING Germany,1920 Modernized depiction of the Virgin Mary dressed in blue holding baby Jesus out towards one of the three Wise Men with his head bowed as Jesus blesses him.
- [Mardi Gras] an important New Orleans
[Mardi Gras] an important New Orleans Society scrapbook c. 1870-1880 including Mistick Krewe of Comus ball invitation March 5th 1878 "Scenes from the Metamorphoses of Ovid"; Rex ball invitation March 5th 1878 "The Gods Modernized"; Mistick Krewe of Comus ball invitation and two admit cards February 10th 1880 "The Aztec People and Their Conquest of Cortez"; Knights of Momus ball invitation February 28th 1878 "The Realm of Fantasy"; Twelfth Night Revelers ball invitation with envelope and two admit cards January 7th 1878 "A Twelfth Night Revel"; Rex Ball invitation with envelope and two admit cards February 10th 1880 "The Four Seasons"; Rex ball invitation and two admit cards February 25th 1879 "The History of the World"; Wednesday Club invitation with envelope and admit ticket December 30th 1879; and New Orleans Club admit card February 5th 1880.
- [Mardi Gras] an important society scrapbook
[Mardi Gras] an important society scrapbook compiled by Emma Mumford of Baltimore Maryland 1875-1878 containing the Rex 1875 Invitation and Lady's Admit Card "Persian and Egyptian" with inscription noting the ball being postponed until 1876 due to tensions related to Reconstruction; Rex Invitation 1877 "Military Progress of the World"; Rex Invitation 1878 "The God Modernized"; Invitation Envelope and Admit Card to Foreigners' Ball February 19 1878; Invitation and Admit Card to Grand Military Mask and Fancy Dress Ball given by Continental Guards February 22 1877; two Admit Cards to the Reception to the Officers of the Army and Navy by the Citizens of New Orleans May 24 1877; Invitation by the Officers of Jackson Barracks May 11 1877; and music concert programs botanical specimens and newspaper clippings all mounted in a gilt-tooled purple leather scrapbook.
- Pair of Tiffany Sterling Silver Vases,
Pair of Tiffany Sterling Silver Vases, the pattern introduced in 1912, New York, each of flaring cylindrical form with circular foot, the body decorated with tall, flat-chased reeding with modernized rococo scrolls at the top and acanthus leaves at the bottom, the foot banded en suite, h. 11-1/2", dia. 4-1/2".