A few examples of appraisal values for
THE SOURCE

• ABRAHAM LINCOLN, FAREWELL ADDRESS
  ABRAHAM LINCOLN, FAREWELL ADDRESS FROM 1861 One of Abraham Lincoln's best know speeches which was presented at the Illinois Great Western railroad depot on February 11, 1861, the same day he departed for Washington from his home town, this example is known to be the most accurate of it time, The source of this version is the February 12, 1861 edition of the Illinois State Journal, a Springfield newspaper. Looks to be a supplement broadside, matted and mounted under glass in a contemporary black frame with black matting.
• COLLECTION OF (15) JAPANESE
  COLLECTION OF (15) JAPANESE PRINTS INC. HIROSHIGE. Includes an Utagawa Hiroshige "New Year's Eve Foxfires at the Changing Tree, Oji" print; an Utagawa Hiroshige "Seido Kanda River From Shohei Bridge" print; an Utagawa Hiroshige single (center) print from a triptych titled, "the Source of the Pine at Onoe Aioi", with losses; an Utagawa Hiroshige "Kinryuzan Temple at Asakusa" print; an Utagawa Kunisada print of robed ladies; an Utagawa Hiroshige "Spring Rain at Tsuchiyama" print; an Utagawa Hiroshige "Morning after Snow at Sumida River in Musashi Province"; a Kunisada II print; (4) unidentified Japanese prints; an Adachi Ginko print probably from "The Tales of Good and Evil in the Orient" series; (2) Hiroshige I stacked prints; and an unidentified Japanese print of (3) robed figures. From a Long Island, NY estate. Dimensions: overall measurements of the Ginko print approx. 14.375" h x 9.875" w. Condition: With toning, spotting, creases, losses, pinholes, etc.
• 1882 ATLANTIS THE ANTEDILUVIAN
  1882 ATLANTIS THE ANTEDILUVIAN WORLD 1ST EDLate 19th C. antique book by Ignatius Donnelly published 1882 by Harper & Brothers, New York. Pseudoarchaeological work which makes the argument that all known ancient civilizations were descended from Atlantis. This book is the source of many modern day concepts about Atlantis. Green cloth hardback with gold gilt on cover and spine, 480 pages with numerous illustrations. Overall approx. 5 1/4" x 1 3/8" x 7 1/2". Some overall wear and discoloration, staining to some pages, some intact but loose pages. See images for more details on condition. shipping info This item can be shipped in-house.
• An American Silver-Plate Flatware
  An American Silver-Plate Flatware Service The Source Perrier, 20th Century pattern S3P1, comprising: 24 dinner knives 24 luncheon knives 23 dinner forks 24 salad forks 24 tablespoons 24 teaspoons 3 pairs of salad servers; 146 items total. Length of dinner knife 10 inches.
• An American Silver-Plate Flatware
  An American Silver-Plate Flatware Service The Source Perrier, 21st Century Augustus pattern, comprising: 10 dinner forks 12 salad forks 12 soup spoons 12 dessert spoons 12 coffee spoons; 58 items total. Length of dinner fork 8 inches.
• JOSEPH F. H. LÉGER (1881-1955)
  JOSEPH F. H. LÉGER (1881-1955) FRENCHJoseph Fernand Henri Léger, watercolour, “Composition à La Fleur, 1945”. Signed and dated B/R. Dominion Gallery and Galerie Agnès Lefort labels verso. 10.25” x 14.25”. In World War II, Léger lived in the United States. During his tenure in the US, Léger began making paintings in which freely arranged bands of color are juxtaposed with figures and objects outlined in black. Léger credited the neon lights of New York City as the source of this innovation: "I was struck by the neon advertisements flashing all over Broadway. You are there, you talk to someone, and all of a sudden he turns blue. Then the color fades—another one comes and turns him red or yellow”. The example offered here is enigmatic of that period and demonstrates the juxtaposition of colour and objects.
• 14K GOLD & DIAMOND CUFFLINKS &
  14K GOLD & DIAMOND CUFFLINKS & STUDSA set of Birks14K yellow gold & diamond cufflinks and a pair of matching shirt studs, the bezel set diamonds forming the source for the ray pattern engraved on the surface, total weight 16.9 grams.
• Rare and Important American
  Rare and Important American Gothic Revival Oak Hall Chair, possibly New Orleans or New York, mid-19th century, the tall back supported by pierced and carved stiles terminating in crocketed spires, the central pierced and carved splat with an additional carved spire, the solid plank seat with molded edge hinged along the back edge and opening to a void cavity, supported by pierced front legs, h. 71\". This chair belongs to a small but important group of furniture associated with the Antebellum South. Related chairs have been found in Vicksburg, New Orleans, and most notably Stanton Hall Plantation in Natchez, Mississippi. It has been suggested that New Orleans may have been the source of this body of furniture since the Stanton Hall examples were invoiced by Henry Siebrecht of New Orleans. Related examples are in the collection of the Metropolitan Museum of Art, New York, the Bybee Collection, the Dallas Museum of Art, the Henry Francis duPont Winterthur Museum and the New Orleans Museum of Art. A mate to the Winterthur chair sold at New Orleans Auction Galleries in March, 1998, for $40,700, and another sidechair in March, 2000, for $56,000. The New Orleans Auction St. Charles Gallery sold the matching recamier in April, 1998, for $44,000.
• TOBY PHILPOTS D6043 - MINI -
  TOBY PHILPOTS D6043 - MINI - ROYAL DOULTON CHARACTER JU...Green hat; brown coat; blue scarf with white spots. A "thirsty old soul" in an 18th-century drinking song, Toby is thought by some to be the source of the traditional British Toby jug, in which a character sits astride a barrel of ale. Popular opinion suggests his name is a derivation of the French tope, to toast. Artist: Charles Noke Issued: 1939 - 1951 Dimensions: 2.25"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good
• TOBY PHILPOTS D5736 - LARGE - ROYAL
  TOBY PHILPOTS D5736 - LARGE - ROYAL DOULTON CHARACTER J...Green hat, brown coat, blue scarf with white spots. A "thirsty old soul" in an 18th century drinking song, Toby is thought by some to be the source of the traditional British toby jug, in which a character sits astride a barrel of ale. Popular opinion suggests his name is a derivation of the French top�, to toast. Royal Doulton backstamp. Artist: Charles Noke Issued: 1937 - 1969 Dimensions: 6.25"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• TOBY PHILPOTS D5736 - LARGE - ROYAL
  TOBY PHILPOTS D5736 - LARGE - ROYAL DOULTON CHARACTER J...Green hat, brown coat, blue scarf with white spots. A "thirsty old soul" in an 18th century drinking song, Toby is thought by some to be the source of the traditional British toby jug, in which a character sits astride a barrel of ale. Popular opinion suggests his name is a derivation of the French top, to toast. Royal Doulton backstamp. Artist: Charles Noke Issued: 1937 - 1969 Dimensions: 6.25"H Manufacturer: Royal Doulton Country of Origin: England Condition: Age-related wear
• ANTIQUE "BAYLEY AND CO" COIN SILVER
  ANTIQUE "BAYLEY AND CO" COIN SILVER TEA SETDESCRIPTION: Antique Coin Silver "Bayley and Co" "Philad" JCM Silver Tea Set. This is a beautifully designed and crafted late 19th century Bailey & Co. (1848-1878) Philad silver tea service with floral repousse design throughout, scrolled handle with grapes leaves. Marked "Bayley and Co" "Philad" JCM 22. With original wooden case with owners last name "Vroom". Peter D. Vroom was the Governor of New Jersey from 1829 to 1832 and from 1833 to 1836. Crafted with ornate design, the seven-piece tea set is complete; the set stands on a beautiful grape cluster decorated footed tray and includes a coffee pot, a teapot, a third teapot, a covered sugar bowl with detached lid, a creamer, a matching bowl. Each piece is heavily decorated with embossed grape cluste and leaves motifs, and each item is stamped on the bottom with the "Bayley and Co" "Philad" logo for further authentication. The wooden case is marked " Vroom" on lid. Set includes: (1) Silverplated "Bayley and Co" "Philad" Tray- L: 33" W: 20". (1) Silver "Bayley and Co" "Philad" Coffee Pot- H: 12 1/4" W: 9". (1) Silver "Bayley and Co" "Philad" Teapot- H: 12" W: 9 1/2". (1) Silver "Bayley and Co" "Philad" Teapot- H: 12" W: 9 1/2". (1) Silver "Bayley and Co" "Philad" Creamer- H: 8" W: 5". (1) Silver "Bayley and Co" "Philad" Lidded Sugar Bowl- H: 9 1/2" W: 8". (1) Silver "Bayley and Co" "Philad" Bowl- H: 5 1/2" W: 6". Coin silver is a 19th-century American term referring to silver goblets, bowls, trays, and flatware containing roughly 900 parts silver and 100 parts copper. While the term has its roots in the silver content found in British and Spanish coins of that period, most objects that were made out of coin silver were not made exclusively from melted coins, although that certainly did occur. Instead, an object stamped "Coin" or "Pure Coin" or "C" was simply understood to contain roughly 90 percent silver and 10 percent copper, regardless of the source of the component metals. The exact percentage of silver in coin-silver objects, especially those made from coins, varied quite a bit. Coins minted in the United States after the Revolutionary War only contained 892 parts per 1,000 of silver. The silver content in U.S. coins was increased to 900 in 1837, and in 1869, the United States embraced the British sterling standard of .925. That gave further definition to the coin standard of .900, which was made official in 1906 after the passage of the National Stamping Act. CIRCA: 19th Century. ORIGIN: Philadelphia, USA. DIMENSIONS: See lot description for details. Wooden Case is W:23" D: 15 3/4" H:14". Set weight: 4738 grs. CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• LEWIS AND CLARK 1902 & LES
  LEWIS AND CLARK 1902 & LES MISERABLES, 1887Two groups of five collectible books. 1st group: Three Complete as Issued Volumes of "History of the Expedition under the Command of Captains Lewis and Clark: To the Source of the Missouri, across the Rocky Mountains, down the Columbia River to the Pacific in 1804-6", by Meriwether Lewis and William Clark, published by New Amsterdam Book Company Publishers, New York, 1902 (reprint of 1814 edition), one frontispiece of Meriwether Lewis in Vol. I, large folding map in back pocket of Vol. III. 2nd group: Two Complete as Issued Volumes of "Les Miserables", by Victor Hugo, translated by Isabel F. Hapgood, published by Thomas Y. Cromwell & Co., New York, 1887, illustrated edition with two frontispieces. Condition: 1st group: Light wear to spines, gilt on top of pages, and covers around edges; early pages of Vol. I & III separating from gutter. 2nd group: Good condition overall, light wear to spines and covers around edges. Personal inscription in black ink on front page of both volumes.
• ITALIAN SCHOOL 19TH C. PAINTING,
  ITALIAN SCHOOL 19TH C. PAINTING, THE ANGEL OF THE ANNUN...Italian School 19th century oil on canvas painting, "The Angel of the Annunciation," depicting a winged angel, possibly Archangel Gabriel, holding a bouquet of lilies, a symbol of the Virgin Mother's purity at the time of her conception with the Christ child, rendered with dramatic tenebrism. Inscribed in Italian en verso of canvas "F. Furini fece dal'originale/ Florence 1812". Old Italian label for Gilder & Varnisher Carlo Bartolini, Florence, adhered en verso of frame. Housed in the original 19th-century custom Florentine frame with lily decoration to spandrels and pierced scrolling acanthus leaves to the perimeter. Sight: 27 1/2" H x 21 1/2" W. Framed: 39 1/2" H x 33 1/2" W. Italian, 19th-century. Note: The mention of Filippo or Francesco Furini as the source of the image is debatable, as the painting seems to more closely follow paintings based on the work of Carlo Dolci (Italian 1616-1686). For a similar example, see the painting by T. Berti, "The Angel of the Annunciation, 19th century, after Carlo Dolci," in the collection of the Art Gallery of New South Wales, Australia. Condition: The painting has been lined. Light craquelure throughout, commensurate with age. Very light retouching to areas of minor flaking and traction cracks. Slight gilt loss to frame.
• PHILIP B. HAHS, O/B GRISAILLE
  PHILIP B. HAHS, O/B GRISAILLE PAINTING, 1881Philip B. Hahs (PA, 1853-1882) oil on board grisaille painting, 1881, depicting an African American child holding a duster and smiling mischievously at a partially nude marble bust that stands to his right. A cello lies on the floor to his left. Signed and dated Philip B. Hahs, 1881, lower left. Housed in a molded, ebonized wood frame. Sight: 15 1/2" H x 11" W. Frame: 23 1/2" H x 19" W. Note: This painting was likely the source for the wood engraving featured in the November 14, 1882 edition of Harper's Young People, p. 25, entitled "A Flirtation" and signed by Hahs. Condition: Painting and frame in overall very good condition. Painting with specks of retouching visible under UV light, primarily to the background to the figure's left. Largest area of retouching is 1/4" x 1/4".
• 1ST ED JOURNALS OF THE EXPEDITION
  1ST ED JOURNALS OF THE EXPEDITION OF LEWIS & CLARKFor your consideration is this first edition volumes I and II of “The Journals of the Expedition Under the Command of Capt.'s Lewis and Clark: to the Sources of the Missouri, thence across the Rocky Mountains and down the river Columbia to the Pacific Ocean, performed during the years 1804-5-6 by order of the Government of the United States.” This book was edited by Nickolas Biddle. The introduction is by John Bakeless and the water color and drawing illustrations are by Carl Bodmer and other contemporary artists. John Bakeless has written over a dozen books, including "Lewis and Clark, Partners in Discovery”, one of the first and foremost scholarly works on Meriwether Lewis and William Clark. This edition also includes sixteen full-page plates in four, five, and six colors. Thirteen of the plates are from paintings by Carl Bodmer and three paintings are by George Bird King. They are bound in decorated parchment-toned buckram with a map design in sepia and buckram spine labels, hand-lettered and stamped in pure gold leaf. They are on the original slipcase. The condition of this two-volume set is good, stains and slight scuffing noted on cover. Intact pages are clean, age tanning or foxing not observed. The measurements of these books are 8.25"W x 12"L x 1"D each.
• TOMáš HLAVICKA - BLUESigned,
  TOMáš HLAVICKA - BLUESigned, 2018, Cut and polished laminated glass, gold leaf, 5.5h x 13dia. Tomáš Hlavi?ka’s unique style of fusing glass and metal into sculptural forms sets him apart. At first sight they are dramatic and sometimes stark contemporary masterpieces, but Hlavi?ka brings simple forms to life, creating microcosmic worlds of color and texture that constantly change depending on the source of light and the angle. Tomas Hlavi?ka was born in 1950 in Prague, Czechoslovakia. He studied at the Architectural Faculty of the Prague Technical University for 5 years before starting his career in architecture and interior design. While in his studies, Hlavi?ka met Pavel Hlava, who is considered to be the co-creator and innovator of the modern movement of Czech glass art. A friendship emerged and Hlavi?ka was asked by Mr. Hlava to assist him in his glass works. This valued knowledge would later enable Hlavicka to develop his own entirely unique and distinct style fusing conceptual methods in studio glass art with new architectural theory inscribing him amongst the great leaders in Czech glass art. Hlavicka continued to apprentice under Hlava as he settled into his work as an architect, focusing and honing his skills in glass design while furthering his understanding of balance, shape, space, and color creation. In 2000, The Koganezaki Crystal Park, a contemporary glass museum in Japan celebrated its third anniversary by staging an exhibition under the theme, “Vessels.” The exhibit displayed 57 glass works pre-selected from a total of 872 applicants representing 36 countries and from this Hlavi?ka accepted the prize of Honorable Mention for his piece titled “Platinum”. At the International exhibition of glass in Kanazawa, Japan, Hlavicka’s piece titled “Cut”, won the Grand Prize award. Tomas Hlavi?ka was granted the 2001 European prize for fine art. Condition: Excellent
• NEAR PAIR CHINESE FAMILLE VERTE
  NEAR PAIR CHINESE FAMILLE VERTE LIDDED VASESstamped iron red Tongzhi seal mark, enamel decorated with books, table screens, vases, flowers and fruits, planters, censers, and other precious objects, with calligraphic inscriptions and seals, tallest 17-5/8 x 10 in. Note: According to consignor notes, the inscription across one of the lids attributes the work to the painter and calligrapher Zhao Mengfu and translates loosely to "Sincerely spending your life appreciating what is ancient is the source of renewal." The red characters around the top of the body are copying archaic script from the collection of Ruan Yuan. Provenance: A Pawleys Island, South Carolina Private Estate; Private Collection, Colorado Condition: one lid attributed, lids with rim chips and glaze flakes, one vase with hairline to neck, some losses and rubbing to enamel, light scratches, wear to bases
• LT. JOHN HILLS - PLAN OF YORKTOWN
  LT. JOHN HILLS - PLAN OF YORKTOWN AND GLOUCESTER, 1785John Hills (surveyor, active 1777-1819), William Faden (publisher), A Plan of York Town and Gloucester, in the Province of Virginia, Shewing the Works Constructed for the Defence of those Posts by the British Army, under the Command of Lt. Genl. Earl Cornwallis , London, 1785, engraving on laid paper with hand colored highlights, sheet (margins folded) 28-1/4 x 21-1/2 in.; black painted and gilt wood frame, 32 x 25 in. Note: During his career, Lieutenant John Hills (23rd Regiment of Foot) produced more than fifty maps, some of which depicted battles that he did not witness firsthand. Hills often borrowed from other reliable surveyors, citing them in his work. It is unclear whether Hills personally compiled A Plan of York Town and Gloucester or whether this was the work of another engineer. As publisher William Faden indicated in the title, the source was an actual survey in the possession of John Hills. Literature: William C. Wooldridge, Mapping Virginia , figure 157, p.175. Provenance: Property deaccessioned by The Colonial Williamsburg Foundation; all proceeds to benefit The Joseph H. and June S. Hennage Fund Condition: hinged in on mat with archival tape, left edge trimmed at plate line, other sheet edges folded back and taped with archival tape, reinforced at center join line with archival tape, light wear and minor handling creases, small stain at upper left corner; frame with light wear and abrasions
• DON BALKE (B. 1933) "SCARLET
  DON BALKE (B. 1933) "SCARLET TANAGER"Don Balke (North Carolina, B. 1933) "Scarlet Tanager" Signed lower right. Original Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Birds and Flowers of the Meadow and Garden Collection "Scarlet Tanager and Blue Columbine" porcelain plate. The brilliant Scarlet Tanager male enlivens the summer scenery with lush, flame red feathers perfectly accented by the sooty black of its wings and tail. These beautiful birds spend much of their time in the very tops of trees high above the forest floor. There they move freely, though rather sluggishly, in search of berries and the leaf-eating insects on which they dine. Because of their preference for lofty heights, Scarlet Tanagers are seldom seen except when lured by cool, clean water for bathing. Aside from these rare appearances on the ground, this striking bird's presence is generally marked only by its hoarse song. In fact, often the woodland hiker will hear the Scarlet Tanager before he sees it. To pinpoint its exact location, the hiker often must walk past the bird's perch, listening here and there, before finally discovering the source of the telltale rasping song. A bit husky in tone, the Scarlet Tanager's call has been described as sounding like "a robin with a sore throat." Nonetheless, it is a song which gladdens those who listen for it. Come fall, the Scarlet Tanager molts, exchanging his brilliant summer plumage for the olive-green coloring of his mate. Then it is time to join the flock as they migrate, under cover of darkness, to the warmer climates of South America. But, in spring, they will return to fill the tops of the forest foliage with color and song. Image Size: 9.25 x 8.75 in. Overall Size: 17.25 x 18 in. Unframed. (B05610) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• 11TH C. KHMER STONE BUDDHA ON
  11TH C. KHMER STONE BUDDHA ON NAGA THRONESoutheast Asia, Cambodia, Khmer Empire (Angkor culture), ca. 11th to 13th century CE. A monumental, finely carved stone Buddha, seated on a three-tiered serpentine throne, with the flaring, hooded head of a giant Naga, the serpent king Muchilinda, rising behind him protectively. The Buddha's hands are posed in the Dhyana Mudra. This is a gesture of meditation, with the hands placed in the lap, right hand on left, with fingers full stretched out and palms facing upwards. The Buddha's face is serene, with a naturalistic and warm expression. He wears a magnificent crown that was meticulously incised with intricate beaded and stylized geometric motifs, topped by a similarly elaborately detailed ushnisha, symbolizing his enlightenment. The serpent is well-rendered and symmetrical. While this artwork was religious - priests supervised its execution - its realism is unmistakable. Size: 15" W x 36.5" H (38.1 cm x 92.7 cm) The Naga hood and throne comprised of the coils of the serpent's massive body suggest that Muchilinda is protecting the Buddha from heavy rain. This iconographic depiction of the Buddha was a popular one from the reign of Khmer King Jayavarman VII (reigned ca. 1181 to 1218 CE), who established a cult based around it. Scholars believe that this may be because Jayavarman was disabled, and snakes were associated with healing. Interestingly, the king is also known for the establishment of hospitals throughout his kingdom. This said, some scholars question the Buddha/Muchilinda story, saying that it is based on a misreading of the sources. Naga cults were prevalent throughout Indian, Sri Lankan, and Southeast Asian artwork during this period, but the symbolism is somewhat unclear. Some have proposed that nagas could be symbolic vehicles for elevating the deceased – equivalent to transcendence. This interpretation was inspired by the artwork of Angkor Wat and other parts of the Khmer world. Others see the inclusion of the naga as a holdover from earlier symbolic practices. Formalistically, Khmer art moved away from Indian styles in the 7th century CE to encompass its own framework. One sign of this, seen here, is that this statue is carved in the round, rather than as a relief on a stela, which was subscribed to by Indian and Javanese Hindu and Buddhist sculptures that were previously influencing Cambodian art. From this, we can infer that Khmer sculptors would have desired their artwork to be viewed from all sides, and thus placed in the center of temples rather than against a wall. Provenance: private Tucson, Arizona, USA collection, acquired in 2009; ex-Dorian Rae collection, Vancouver, British Columbia, Canada, established 1978 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #160561 Condition: Surface with nice worn patina. Loss to one cobra head to upper left and another to lower right, wear at hands, minor losses and chips as shown.
• SIGNED WILLIAM DRAPER PORTRAIT OF
  SIGNED WILLIAM DRAPER PORTRAIT OF JOSEPH KENNEDY (1962)...William Franklin Draper (American, 1912-2003). Portrait of Joseph Kennedy, oil on canvas, 1962. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". A painting of historical figure Joseph Kennedy created by American artist William Draper in Palm Beach, Florida in 1962. It was President John F. Kennedy who asked William Draper to paint his father's portrait. Ambassador Kennedy's portrait had never been painted, and when John F. Kennedy became President, he wanted a picture of his father hanging in the embassy. So Draper went to Palm Beach to paint the Kennedy family patriarch, who by this time had a stroke and was paralyzed. Joseph Kennedy Sr's caretaker wheeled him out on his wheelchair, and Draper made this colored sketch in situ. Size: 24" L x 20" W (61 cm x 50.8 cm) William Draper had known the Kennedy family from his childhood summers in Hyannis Port. According to Draper's Archives of American Art oral history transcript, the Draper's invited the Kennedy's for cocktails and introduced them to Hyannis Port society. Draper stated, "This sounds awfully snobbish but it's perfectly true because nobody knew the Kennedys." (Source: Smithsonian Archives of American Art "Oral history interview with William F. Draper, 1977 June 1-28") In addition to painting Ambassador Kennedy, Draper was the only artist for whom JFK posed during his lifetime. President John Fitzgerald Kennedy sat for William Draper a year before his assassination, and the National Portrait Gallery in Washington D.C. commissioned Draper to paint a portrait from the 1962 life sketch (also available at Artemis Gallery) in 1966 (object number NPG.66.35). Joseph Kennedy was appointed Ambassador to the United Kingdom by President Franklin Delano Roosevelt in 1938, a position he held until 1940. In addition, Joe Kennedy was the patriarch of a legendary American family. He and Rose Kennedy had nine children, including John F. Kennedy (1917-1963) who was the 35th president of the United States, Robert F. Kennedy (1925-1968) who served as both U.S. Attorney General and a U.S. Senator from New York, and Ted Kennedy (1932-2009) who was a U.S. Senator from Massachusetts. Speaking to Draper's talent as a portraitist, Peter Rathbone, Director Emeritus of the Boston Museum of Fine Arts, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #151460 Condition: Small puncture to canvas at upper right that does not impact the painted image. Expected age wear with minor stains that are visible in unpainted areas of the canvas and do not impact the painted image. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". Black border tape around the edges of the painting has some tears and folds. "Ambassador Joseph Kennedy" is handwritten on the verso. There is a Draper Estate stamp on the verso as well.
• EXEMPLARY OLMEC RIO PESQUERO
  EXEMPLARY OLMEC RIO PESQUERO GREENSTONE MASKETTEPre-Columbian, Mexico to Guatemala, Olmec, ca. 900 to 600 BCE. In a word, wow! Finely carved and string-cut from a sage-hued greenstone with natural swirls of butterscotch and caramel, an incredibly expressive depiction of a were-jaguar transformation mask with a square jaw, ovoid eyes beneath a narrowed brow, a curved nose with broad nostrils, and a rectangular mouth with flared upper and lower lips, making for a feline mouth. The usual headband is not present, perhaps to allow room on the stone's surface for that incredibly dramatic expression. The mouth is enveloped by prominent nasolabial folds that act as a parenthesis emphasizing the upper row of teeth that protrude from the flared lips of the beast. Lengthy ear flaps flank the zoomorphic visage, each adorned with an annular drill hole, likely for suspending ornaments. Additional perforations at the peripheries were created presumably for attachment. A truly exceptional full maskette! Size: 3.7" W x 4.5" H (9.4 cm x 11.4 cm); 6" H (15.2 cm) on included custom stand. The attention to detail on this piece is quite impressive. Note the expressive lips and cleft palette of the jaguar mouth, the full nose with nostrils pierced through to the verso, and the stylized elliptical-shaped eyes. To the Olmecs, masks and maskettes like this example carried many meanings, not all of which are obvious to us today; however, scholars surmise that the color green was associated with vibrant growth, renewal, and given the cyclical conception of life and death, rejuvenation after death. Additionally, jaguar imagery symbolized power and might throughout the Pre-Columbian world; hence, warriors, rulers, hunters, and shamans alike associated themselves with this king of beasts, the largest and most powerful feline in the New World. Research in the late 1990s and early 2000s pinpointed the source of what is colloquially referred to as "Olmec blue" jade in the lowland Motagua River near the modern-day border of Guatemala and Honduras; greenstone from this source was carved and traded widely throughout early Mesoamerica. The value of greenstone and jade for ancient people lay in their symbolic power: perhaps green was associated with water and vegetation; later, the Maya would place greenstone and jade beads in the mouths of the dead. Many scholars have argued that the demand for greenstone and jade contributed to the rise of long-distance trading networks and to the rise of urban centers in ancient Mesoamerica. This greenstone mask would have been regarded as an exceedingly valuable and rare piece of ceremonial art. A similar Olmec greenstone mask was sold by Sotheby's New York for $65,625 on May 16th, 2014 as lot 237 in their African and Oceanic auction (sale number N09146) This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Santa Fe, New Mexico USA collection; ex-Allen A. Davis collection, Santa Fe, New Mexico, USA, acquired August 12, 2009; ex-private New York, New York, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164412 Condition: Some expected minor nicks to top and bottom peripheries and a few small chips to verso, commensurate with age. Otherwise, intact and excellent with impressively preserved detail. Collection label on verso.
• FABULOUS OLMEC / PROTO MAYA JADE
  FABULOUS OLMEC / PROTO MAYA JADE BEAD NECKLACEPre-Columbian, Southern Mexico to Guatemala, Olmec to Proto-Maya culture, ca. 500 BCE to 300 CE. A stunning ensemble of 52 sizeable, hand-carved jade beads, all strung on a modern leather strand to be wearable. All displaying barrel and spherical forms, the beautiful beads boast rich hues of mint, seafoam, midnight, and forest greens, as well as celadon, shamrock, teal, and viridian. A gorgeous adornment that is sure to make all who see it green with envy! Size (necklace): 30.5" L (77.5 cm); (largest bead): 0.875" W x 0.7" H (2.2 cm x 1.8 cm) Research in the late 1990s and early 2000s pinpointed the source of "Olmec blue" jadeite at being in the lowland Motagua River near the modern-day border of Guatemala and Honduras; stone from this source was carved and traded widely throughout early Mesoamerica. The value of jade for ancient people lay in its symbolic power: perhaps its color was associated with water and vegetation; later, the Maya would place jade beads in the mouths of the dead. Many scholars have argued that the demand for jadeite contributed to the rise of long-distance trading networks and to the rise of urban centers in ancient Mesoamerica. This would have been an exceedingly valuable and rare ceremonial item. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Rochester, Michigan, USA collection, before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #167060 Condition: Wearable as shown and strung in modern times. Jade beads are ancient, and leather necklace strand is modern. Professional repair to 6 beads, with nearly invisible adhesive residue along break lines; remaining beads are intact and excellent. All beads have light abrasions across surfaces, with some beads having light encrustations within drilled suspension holes. Fabulous surface smoothness and coloration throughout.
• SIGNED DRAPER PORTRAIT - LADY IN
  SIGNED DRAPER PORTRAIT - LADY IN WHITE HAT, 1987**Originally Listed At $400** William Franklin Draper (American, 1912-2003). "Lady in White Hat" - oil on board, 1987. Signed and dated "Wm. F. Draper '97" on lower right. A wonderful portrait of a sophisticated lady by American artist William Draper. The sitter wears a wide-brimmed white hat to match her blouse. A vision of style and grace, she looks out at the viewer with a disarming smile. The background is a symphony of spring green, teal, and turquoise hues delineated in expressive strokes with bold passages of impasto. A beautiful portrait set in an attractive custom frame. Size of painting: 14.75" L x 11.125" W (37.5 cm x 28.3 cm) Size of frame: 20.25" L x 16.7" W (51.4 cm x 42.4 cm) Draper became known as the "Dean of American portraitists" and Boston MFA Director Emeritus Peter Rathbone compared Draper's skill to that of master John Singer Sargent. Rathbone, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #152331 Condition: Painting has not been examined outside the frame but appears to be in excellent condition. Signed and dated "Wm. F. Draper '97" on lower right. Draper Estate stamp on the verso. Wired for suspension and ready to display.
• LARGE 18TH C. INDIAN STONE PANEL W/
  LARGE 18TH C. INDIAN STONE PANEL W/ GANESH**Originally Listed At $2000** South Asia, India, ca. 18th to 19th century CE. Finely carved in relief from a single block of stone, this is a high relief hand-carved stone panel of the deity Ganesh, standing upon a shelf. Ganesh (also Ganesha or Ganapati), is the elephant-headed deity known as the "Remover of Obstacles." He leans to one side as if swaying to music. Although aged and faint, he appears to hold an attribute in both hands. He wears an elaborate headdress and bangles on his feet. The portly stomach is characteristic of this god's love of sweets. The surface retains much of the original red and orange pigments from when this piece was a vibrant architectural element. The panel verso is flat, likely resided in a temple or shrine. Size: 14.25" L x 6.5" W x 18.5" H (36.2 cm x 16.5 cm x 47 cm) Esteemed as one of the principle deities of the Hindu pantheon, the first son of Shiva and Parvati, Ganesha is known as the Lord of Plenty or the god of auspiciousness, highly revered as the regulator of all obstacles with the power to create and remove them. Followers traditionally ask for his blessings at the beginning of any new paths or serious endeavors. The origin of his unusual physiognomy, particularly how he came to possess such an unusual head is the source of many legends, the most popular is that one day when Shiva was away from home, Parvati created a human son from her own body. She asked her son to guard the door while she was bathing. Quite unexpectedly, Shiva returned home, and the boy would not allow Shiva to enter his own household. Enraged by this, Shiva cut off the boy's head. Parvati grew quite angry and ordered Shiva to replace his head. Shiva did so with the first living being he encountered: an elephant. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques. Provenance: private Los Angeles County, California, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #160190 Condition: Softening of details. Surface weathering, chips, and small cavities as expected with age and exposure. Panel is sturdy and robust. Great traces of painted pigments and light mineral deposits!
• EXHIBITED 1962 W. DRAPER PORTRAIT
  EXHIBITED 1962 W. DRAPER PORTRAIT OF SON "WILLY"William Franklin Draper American, 1912-2003), "Willy" oil on canvas, 1962. Signed "Wm. F. Draper '62" on lower left. A large-scale portrait by American award-winning portraitist William Draper, depicting his son and namesake William "Willy" Jr. who was a star tennis player in his teens and went on to teach at the Georgia Tennis Club in East Hampton, Long Island. William Jr. is presented as a handsome nineteen year old, sitting with his arms on the rails of a chair, and gazing toward his left. He wears a patterned blue and beige sweater over a sky blue polo shirt with khaki shorts. The blue hues of his garments beautifully match his twinkling bright blue eyes, a trait he shared with his father. A wonderful portrait of the artist's son, set in an attractive custom frame. Size of painting: 41.5" L x 27.5" W (105.4 cm x 69.8 cm) Size of frame: 49.875" L x 35.875" W (126.7 cm x 91.1 cm) Though a respected as "an artistic descendant of John Singer Sargent" - noted for his expressive style and freely brushed and textured paintings, Draper once said, "Portraits are always a challenge. It's like a puzzle." According to Edgar J. Driscoll, Jr's memorial statement, "Paul E. Curran, a friend of 20 years, said a Draper portrait was a 'five day affair,' begun on Monday and wrapped up Friday afternoon. Before he finished, he always got an objective opinion of the piece from someone who knew his subject. 'He'd get an opinion of how well he portrayed the individual,' Curran said." Peter Rathbone, Director Emeritus of the Boston Museum of Fine Arts, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits . . . Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. On the verso are two exhibition labels, one from Portraits, Inc. in New York City and another from FAR Gallery in New York City. This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003) All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #152319 Condition: Portrait is in excellent condition. Signed "Wm. F. Draper '62" on lower left. On the verso are two exhibition labels, one from Portraits, Inc. in New York City and another from FAR Gallery in New York City. Draper Estate stamp on verso as well. Frame has some inactive insect holes and age wear with scuffs, abrasions, and nicks/chips as shown. Minor stains on verso of framing that do not interfere with the painted portrait. Perforations on verso of frame, likely from previous display.
• RARE / GORGEOUS OLMEC BLUE JADE
  RARE / GORGEOUS OLMEC BLUE JADE CELTPre-Columbian, Southern Mexico to Guatemala, Olmec culture, ca. 1150 to 550 BCE. A rare, hand-carved ceremonial jade celt (hand axe) with a muted blue-green coloration and an elegant presentation. Meticulously flaked and then sanded smooth to a reflective sheen, the tool has a bulbous body, a rounded ovoid handle, and a tapered top section with an acutely-angled edge. The celt is a tapered hand tool of a highly-stylized ritual form with ceremonial or funerary purposes. Designed for a votive function, this is a fabulous piece of art which exemplifies the arduous process of ancient stone-shaping! Size: 6.1" L x 2.375" W (15.5 cm x 6 cm) Research in the late 1990s and early 2000s pinpointed the source of what is colloquially referred to as "Olmec blue" jadeite in the lowland Motagua River near the modern-day border of Guatemala and Honduras; stone from this source was carved and traded widely throughout early Mesoamerica. The value of jade for ancient people lay in its symbolic power: perhaps its color was associated with water and vegetation; later, the Maya would place jade beads in the mouths of the dead. Many scholars have argued that the demand for jadeite contributed to the rise of long-distance trading networks and to the rise of urban centers in ancient Mesoamerica. This would have been an exceedingly valuable and rare piece of ceremonial art. Cf. The Metropolitan Museum of Art, accession number 1989.314.4 Provenance: ex-Marc Amiguet Schmitt estate, Amiguet's Ancient Art, Evansville, Indiana, USA, acquired prior to January 1, 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #173402 Condition: Small chips to butt end and periphery on one side, with light abrasions commensurate with age, otherwise in excellent condition. Wonderful surface smoothness, and blade edge is still relatively sharp.
• WILLIAM DRAPER PORTRAIT OF
  WILLIAM DRAPER PORTRAIT OF LEONARD BERNSTEIN (1956)**Originally Listed At $4500** William Franklin Draper (American, 1912-2003). "Leonard Bernstein" oil on canvas, 1956. Signed w/ inscription on lower left. A special portrait of the one and only Leonard Bernstein (American, 1918-1990) - internationally revered musical director of the New York Philharmonic for decades and beloved composer who wrote among other masterful compositions the unforgettable score for "West Side Story"! Draper painted Bernstein at the Museum of Fine Arts Boston in 1956 when Bernstein was a visiting music professor at Brandeis University (1951-1956). An inscription above Draper's signature at the lower left reads, "1 1/4 hour demonstration sketch of Leonard Bernstein Boston MFA." Draper depicted Bernstein in 3/4 view, gazing directly at the viewer with his distinguished visage and signature pompadour hairdo, dapperly dressed in a matching brown jacket and tie, beige vest, and white dress shirt. Draper was a great fan of Bernstein's flamboyant conducting style. Size: 30" L x 25" W (76.2 cm x 63.5 cm); 31.375" L x 26.375" W (79.7 cm x 67 cm) framed. We are especially excited to feature William Draper's portrait of Leonard Bernstein given the release of the film remake of "West Side Story" - scripted by Tony Kushner and directed by the legendary Steven Spielberg. Perfect timing for any fan of this classic musical about love rising above hatred set in New York City during the 1950s, with magical moments capturing the romances between Tony and Maria as well as Bernardo and Anita, in addition to the dramatic rivalry between the Sharks and the Jets; incredible dance scenes, and of course, Leonard Bernstein's unforgettable score which includes "Jet Song", "Something's Coming", "Maria", "Tonight", "America", "Cool", "One Hand, One Heart", "I Feel Pretty", "Somewhere", "Gee, Officer Krupke", and "A Boy Like That"! Draper became known as the "Dean of American portraitists" and Boston MFA Director Emeritus Peter Rathbone compared Draper's skill to that of master John Singer Sargent. Rathbone, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #152716 Condition: Signed "Wm. F. Draper '56" at lower left. Inscription above reads, "1 1/4 hour demonstration sketch of Leonard Bernstein Boston MFA." Draper estate stamp on verso. The painted composition is in excellent condition. Verso is covered with board. "33" written on upper right of top of frame.
• WILLIAM DRAPER PORTRAIT - SHAH OF
  WILLIAM DRAPER PORTRAIT - SHAH OF IRAN (1967)**First Time At Auction** *This item may be oversized. Please inquire about shipping prior to bidding. William Franklin Draper (American, 1912-2003). "Shah of Iran" oil on canvas, 1967. Signed and dated on lower right. American artist William Draper was commissioned to paint a full length portrait of Mohammad Reza Shah Pahlavi (also Mohammad Reza Pahlavi and Mohammad Reza Shah) of Iran for his coronation. The resulting portrait was later burned during the Iranian Revolution; however, this painted sketch for that portrait, kept by Draper, survived. Draper depicted the Shah who reigned from 1941 until his overthrow in 1979 in 3/4 view, dressed in uniform, and extensively decorated with medals. A fascinating rendering of this infamous 20th century Persian monarch, mounted in a custom, gilded House of Heydenryk frame. Gilding contains 16.6-17% gold according to x-ray fluorescence testing. Size: 34.125" L x 27.125" W (86.7 cm x 68.9 cm) Size: 43.5" L x 36.3755" W (110.5 cm x 92.4 cm) Draper became known as the "Dean of American portraitists" and Boston MFA Director Emeritus Peter Rathbone compared Draper's skill to that of master John Singer Sargent. Rathbone, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. House of Heydenryk label on verso of frame. "In business for over 170 years, the House of Heydenryk is one of the world's oldest and most respected frame companies. We make traditional and modern frames and provide antiques to the world's top collectors, artists, architects and interior designers as well as major museums, galleries and corporations." (The House of Hyedenryk website) Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #175992 Condition: Signed and dated at lower right. Slight age wear as shown but otherwise very good. Mounted in a custom, gilded House of Heydenryk frame - note label on back of frame. Gilding contains 16.6-17% gold according to x-ray fluorescence testing. Normal surface wear to frame commensurate with age, and painting could be secured better within frame. Fit with suspension wire; however, we would recommend replacing with new wire.
• NECKLACE W/ OLMEC, MEZCALA & MAYA
  NECKLACE W/ OLMEC, MEZCALA & MAYA APPLEGREEN JADE BEADS...**First Time At Auction** Pre-Columbian, Southern Mexico to Guatemala, Olmec, Mezcala, & Maya culture, ca. 500 BCE to 900 CE. A beautiful collection of 58 apple green nephrite jade beads from various ancient Mesoamerican cultures. The beads are strung in a balanced arrangement on a modern wire as a wearable necklace with a brass push clasp. The stones are polished into asymmetrical as well as barrel and spherical forms, boasting rich hues that echo the verdant rainforest. Jade was revered by the Maya not only for its beauty, but also because it had spiritual power - it was believed to be the embodiment of the wind and the "breath" that formed the Maya soul. Size of strand: 16.5" L (41.9 cm); central bead: 0.7" L x 0.6" W (1.8 cm x 1.5 cm) Research in the late 1990s and early 2000s pinpointed the source of "Olmec blue" jadeite at being in the lowland Motagua River near the modern-day border of Guatemala and Honduras; stone from this source was carved and traded widely throughout early Mesoamerica. The value of jade for ancient people lay in its symbolic power: perhaps its color was associated with water and vegetation; later, the Maya would place jade beads in the mouths of the dead. Many scholars have argued that the demand for jadeite contributed to the rise of long-distance trading networks and to the rise of urban centers in ancient Mesoamerica. Provenance: private Dallas, Texas, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #177521 Condition: Beads are ancient with minor chips and nicks and light mineral deposits. Stung in modern times on a wire with a brass push clasp as a wearable necklace.
• ROMAN LIMESTONE CIPPUS W/ MEDICAL
  ROMAN LIMESTONE CIPPUS W/ MEDICAL GODS & INSCRIPTION**First Time At Auction** Roman, Republican period, ca. 2nd to 1st century BCE. An important travertine limestone relief cippus or marker featuring the 3 gods of healing: Hygeia, the goddess of health, next to her brother Telesphorus, the child-god of recovery from illness, with their father, Asclepius the god of medicine, all standing in an archway as though passing through the threshold of the divine and mortal worlds. In contrapposto at the right, the bearded Asclepius wears a simple himation with a bare chest and grasps his serpent-entwined staff known as the asklepian. Hygeia, draped in a voluminous chiton, feeds a large fruit to a snake that wraps around her arms, while the hooded Telesphorus stands between them. Liberal remains of a Latin or Greek inscription are featured above and below the figures. A fabulous example of ancient medical iconography! Size: 8" W x 10.2" H (20.3 cm x 25.9 cm) In Greek and Roman mythology, Hygeia was one of the children of Asklepios and Epione, and was known as the goddess of health, hygiene, and cleanliness. While her father was associated with healing, Hygeia was associated with preventing illness and maintaining good health. Her name, of course, is the source for what we know of as hygiene. The son of Asclepius and sister of Hygeia, Telephorus was a demi-god of convalescence, who "brought to fulfillment" recuperation from illness or injury. He frequently accompanied his sister, Hygeia, as seen here. He was a dwarf whose head was always covered with a cowl hood or cap. He symbolized recovery from illness, as his name means "the accomplisher" or "bringer of completion" in Greek. Representations of him are found mainly in Anatolia and along the Danube. Telesphorus is assumed to have been a Celtic god in origin, where he would have become associated with the Greek god of medicine, Asclepius, perhaps in Pergamon - an Asclepian cult center - and spread again to the West due to the rise of the Roman Empire, in particular during the 2nd century CE, from the reign of Hadrian, after Epidaurus, the main center of the cult of Asclepius, had adopted him. Prior to the 2nd century, Romans cremated their dead; around that time, inspired by the Greek and Etruscan practice of using sarcophagi, they began to place their dead in sarcophagi. This trend spread rapidly throughout the Roman Empire. In the western part of the Empire, sarcophagi were placed inside a mausoleum against a wall or in a niche, so the only decorated panels were on the front and the short sides. This stele probably came from the grave of a high-status Roman citizen. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Provenance: private New York, New York, USA collection; ex-Andrew Sumi collection, purportedly acquired from a French collection in 1994 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #176517 Condition: Nicks, chips, and abrasions, commensurate with age, but otherwise intact with liberal remains of inscription and detail.
• EXHIBITED / PUBLISHED GREEK
  EXHIBITED / PUBLISHED GREEK COREFORM GLASS ALABASTRONAncient Greece, Classical Period, ca. 5th century BCE. A stunning core-formed glass alabastron comprised of deep sea blue glass with opaque tangerine yellow and cyan blue trailing combed into a feathered pattern that envelops the entirety of the ovoid body. The discoid mouth flares outwards as a slender band of tangerine glass encircles the rim. Finally, a pair of applied trail handles, each in an elegant loop finishes the upper body. A divine work of glass art to be treasured for its impeccable form, beautiful hues, and sophisticated technique. Size: 1.5" W x 3.6" H (3.8 cm x 9.1 cm); 4.7" H (11.9 cm) on included custom stand. The alabastron is a long-bodied vessel with a rounded bottom, a cylindrical neck, and a flat disk for a mouth. Though usually without handles, some alabastra have trailed handles like this example. According to the Beazley Archive of the University of Oxford, the alabastron shape's history extends back to Corinth, but was only preserved in Athenian pottery examples back to the mid-sixth century BCE. Alabastra were created in many materials, including alabaster, and the Greek term for this stone. Alabastron (most likely of Egyptian origin) - was the source of inspiration for the name of this shaped vessel. Many examples were finished with a white ground, as if to imitate this stone. Others, like this example, were created from colorful glass. We know from vase painting imagery of women using alabastra following a bath, that these vessels most likely held perfumed oils. According to the Corning Museum of Glass, core forming is "the technique of forming a vessel by winding or gathering molten glass around a core supported by a rod. After forming, the object is removed from the rod and annealed. After annealing, the core is removed by scraping." This process of glass making was begun in the late 16th century BCE by glassmakers of Mesopotamia, and then adopted by Egyptian glassmakers in the 15th century BCE. The technique almost came to an end in the so-called Dark Ages of Mediterranean civilization (1200 to 900 BCE); however, by the 9th century BCE a new generation of glassmakers took up the technique once again, and between the 6th and 4th century BCE core-forming spread throughout the Mediterranean. Exhibited in "Ancient Glass: Selections from the Richard Brockway Collection" at the Hallie Ford Museum of Art at Willamette University, Salem from March 10 to May 19, 2007 and "Glass of the Ancient World" at the Vero Beach Museum of Art, Florida from October 11 to December 28, 2008. Published in "Ancient Glass: Selections from the Richard Brockway Collection." Hallie Ford Museum of Art at Willamette University, Salem, 2007; "Glass of the Ancient World." Vero Beach Museum of Art, Florida; and "Antiques & Art Around Florida," Fall 2009 - Winter 2010. "Collecting Ancient Glass" by Richard Brockway with Lynette Macleod, pp. 27.Provenance: private Vero Beach, Florida, USA collection, acquired before 2003 #177398 Condition: Small area of some pitting on body below rim, and light surface wear as shown. Otherwise, intact and in overall excellent condition with impressive preservation of form and pigments.
• CARLOS ESTEVEZ MIXED MEDIA - "EL
  CARLOS ESTEVEZ MIXED MEDIA - "EL ARTE SIN SU HISTORIA"Carlos Estevez (Cuban, b. 1969). "El Arte Sin Su Historia" mixed media on paper, 2002. Signature, title, and date with location (Havana) handwritten below. A powerful piece by Cuban artist Carlos Estevez titled "El Arte Sin Su Historia" which translates as "Art Without Its History". Estevez presents a marionette figure, one of his recurring themes, raising both arms and the right leg in an elegant dance-like pose while its head lies on the floor suggesting that "Art Without Its History" amounts to a disfunctional puppet. All is delineated in a simple yet dramatic palette of red and white on a black ground, mounted behind plexiglass in an elegant custom frame. Size (sight view): 28.25" L x 19.75" W (71.8 cm x 50.2 cm) Size (frame): 29.125" L x 20.875" W (74 cm x 53 cm) About the Artist: "Carlos Estevez's work is animated by a deep interest in questions of human spirituality. His stated goal is to use his work to reveal the invisible realm to the spirit that lies hidden beneath the visible world, a process that he refers to as an alchemical, metaphysical transformation of mystery into knowledge. The imagery that populates his paintings, drawings, sculptures, and installations bears a dreamy, child-like quality, with recurring references to marionettes, automatons, fantastical architectures, cosmic geometries, angelic beings, and strange, chimerical creatures. A recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, the Cintas Foundation Fellowship in Visual Arts, and the Grand Prize in the First Salon of Contemporary Cuban Art in Havana, Carlos Estévez was born and raised in Cuba and moved to Miami in 2004, where he lives and works. He graduated from the University of Arts (ISA) in Havana and solo exhibitions of his work have been presented at the National Museum of Fine Arts, Havana; Tucson Museum of Art, Arizona; The Patricia and Phillip Frost Art Museum at Florida International University, Miami; Center of Contemporary Art, New Orleans; Lowe Art Museum at Miami University, Florida; and the Stoors Gallery at University of North Carolina Charlotte. Estévez has participated in group exhibitions presented at the 6th and 7th Havana Biennials; the 1st Biennial of Martinique; Arizona State University Art Museum in Tempe; Pérez Art Museum Miami, Florida; Maison de l'Amerique Latin, Paris, France; Casa de América, Palacio de Linares, Madrid, Spain; and several others. Estevez has been an artist-in-residence in Academia de San Carlos, UNAM, Mexico; Gasworks Studios, London, England; The UNESCO-ASCHBERG in The Nordic Artists' Center in Dale, Norway; Art-OMI Foundation, New York; The Massachusetts College of Art, Boston; Cite Internationale des Arts, Paris; Montclair University, New Jersey; Siena Art Institute, Italy; Sacatar Foundation, Isla Itaparica, Salvador de Bahia, Brazil; and McColl Center for Art + Innovation in Charlotte, NC; among other places. His work is included in numerous prestigious collections, such as those of the National Museum of Fine Arts, Havana; Museum of Fine Art, Boston; The Ludwig Forum, Aachen, Germany; The Bronx Museum, New York; Perez Art Museum Miami, Florida; Drammens Museum for Kunst of Kulturhistorie, Norway; Tucson Museum of Art, Arizona; Denver Art Museum, Colorado; Yale University Art Gallery, Connecticut; Arizona State University Art Museum, Arizona; Fort Lauderdale Art Museum, Florida; The Patricia and Phillip Frost Art Museum at FIU, Florida; The Mint Museum, North Carolina; BNY Mellon Art Collection, New York; and The Lowe Art Museum, Florida. Estevez first monograph Carlos Estevez: Entelechy. Works from 1992 to 2018 by Carol Damian, Ph.D. was published in 2019 by Tucson Museum of Art and Historic Block, Arizona; also, Images of Thought. Philosophical Interpretations of Carlos Estevez's Art by Jorge J. E. Gracia was published in 2009 by State University of New York Press, Albany; and Carlos Estévez: Bottles to the Sea, edited by Jorge J. E. Gracia was published in 2015 by State University of New York Press, Albany." (Artist's Website) Artist Statement: "Art for me is a learning process. It is my way of understanding life. My work is very connected to my own experience. What I think, what I feel, and all my dreams are contained in my artwork. My process is similar to the process of alchemists. They were looking for the formula to make gold, and what they found instead was knowledge. My goal is to find knowledge through art. I want to translate my life experiences into images and share them with other people. I think that art is a magic form of communication and the key is to look at yourself as deep as possible so that you can communicate with the deepest territories of others. The source of my work is the human existence. Of course, my work is influenced by what I read, which is mainly philosophy. However, I don't transfer any concept to my art intentionally. It does not work that way. I read a book and I use it as fuel for my brain. What I get from readings could be far from its original intentions. I do my own interpretation and this becomes the inspiration for my work. I never know exactly what, how, and when it is going to happen, but one day an image appears that is connected with something I have read. I work in different media –painting, sculpture, drawing, installation, and finding objects. I jump from one to the other and this sequence is interrupted constantly. The work that I do reflects my inner world, and it must be done with all the complexity that this process requires. That is why it need to be very detailed. Every single element is important: the background images, colors, textures, lines and the title. The fragments are the way in which we think. The thinking process or the perception process as a whole is not linear or compact. My obsession is to discover the meaning of life. Why are we here in this universe? This transcendental answer can perhaps never be answered, or perhaps it has many different answers. One thing is for sure, neither science nor history can reach the human knowledge that art achieves." (Artist's Website) Provenance: Private Los Angeles, California, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179259 Condition: Signature, title, and date with location (Havana) handwritten below. Artwork is mounted in a custom frame behind plexiglass. Artwork has not been examined outside the frame but appears to be in overall excellent condition. Frame is excellent as well and fit with suspension wire.
• MONUMENTAL 9TH C. INDONESIAN
  MONUMENTAL 9TH C. INDONESIAN STONE STATUE OF GANESHSoutheast Asia, Indonesia, Central Java, ca. 9th century CE. An enormous volcanic stone statue of Ganesha, the elephant-headed deity known as the "Remover of Obstacles," who sits atop a tiered lotus base while holding shallow cups in each outer hand. His second set of hands is raised up near his ears, each hand holding a religious implement or weapon, while his trunk droops between his tusks to drink from one of the petite vessels. His head is flanked with large, ornamented ears and topped with an elaborate tiered crown, all framed in front of a nimbus behind his head. Size: 45.27" H (115 cm) Esteemed as one of the principal deities of the Hindu pantheon, the first son of Shiva and Parvati, Ganesha is known as the Lord of Plenty or the god of auspiciousness, highly revered as the regulator of all obstacles with the power to create and remove them. Followers traditionally ask for his blessings at the beginning of any new paths or serious endeavors. The origin of his unusual physiognomy, particularly how he came to possess such an unusual head is the source of many legends, the most popular is that one day when Shiva was away from home, Parvati created a human son from her own body. She asked her son to guard the door while she was bathing. Quite unexpectedly, Shiva returned home, and the boy would not allow Shiva to enter his own household. Enraged by this, Shiva cut off the boy's head. Parvati grew quite angry and ordered Shiva to replace his head. Shiva did so with the first living being he encountered: an elephant. Cf. a bronze example at The Metropolitan Museum of Art, accession number 1987.142.300; also another stone example at the Minneapolis Institute of Art, accession number 2003.198. and another very similar example is at The Chicago Institute of Art - #1996.673 Please note that this piece is a dropship item, meaning that it will be shipping from the consignor's location. All information regarding condition, size, stone identification, and metal content have been provided by the consignor. Provenance: private Constance McCormick (of McCormick Harvesting fame) Fearing collection, Montecito, California, USA collection; ex-private Santa Barbara, California, USA collection, acquired in 1995; ex-Alexander Gotz Ancient Art, London, UK, and imported into the UK in 1994; ex-private Singapore collection, acquired in Indonesia in 1961 and exported to Singapore in 1967. Appraised in 2000 by Sotheby's for $75,000. A copy of the appraisal will be included with sale. #179889 Condition: As shown. Great preservation to finer details throughout.
• LARGE FELIX BRISSOT FRENCH
  LARGE FELIX BRISSOT FRENCH LANDSCAPE: (French, 1818-1892) Sheep and Shepherd with Dog in an Atmospheric Barbizon Manner Landscape, Oil/Canvas, 25.75'' x 36.25'', circa 1882, signed lower left F. Brissot, unframed. Felix Saturnin Brissot de Warville, born 1818 Veron, France - died 1892 Versailles, France. Partially obscured three or four character gallery, auction or sale inventory number on a vertical stretcher as well as faint numerical inscriptions on the top horizontal stretcher, accompanied by a gallery or collector card as Sheep In Meadow that lists Sheep In Meadow, 1882 - the source of our circa date for this painting - as amongst a list of known or exhibited titles by the artist however this is unverified and note that the frame that preciously housed this painting had a 20th century plaque titled In the Meadow. CONDITION: Sound estate discovery condition, no noticeable craquelure, 20th century cleaning, uncertain as to whether lined as the edges have old paper tape since varnished over, a couple of edge spots and some edge wear.