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* ALLY THOMPSON (SCOTTISH 1955 - 2016), SAVAGE EDEN oil on canvas, signed, further signed and titled verso image size 102cm x 128cm, overall size 110cm x 135cm Framed. Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.

* SUSAN RYDER (BRITISH b. 1944), PORTRAIT OF A MAN oil on canvas, signed and dated '86 image size 72cm x 86cm, overall size 87cm x 102cm Framed. Note: Susan Ryder is a member of the New English Art Club and the Royal Society of Portrait Painters, who exhibits at Panther and Hall Gallery in London where she held solo exhibitions in 2010 and 2016. Ryder lives between her home in London and Scotland, she is well known for her Interior and garden scenes as well as a leading portrait painter. Ryder was commissioned to paint the HRH The Princess of Wales and H. M. The Queen. Commissions range between £4,000 and £10,000.

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "La Dauphine - Giovanni da Verrazzano" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. La Dauphine is the ship in which Giovanni da Verrazano (1485-1528), the Italian explorer, discovered New York Bay in 1524. Giovanni da Verrazzano was also the first explorer to name the new sites in North American after people and places in the Old World. Although born in Tuscany, Italy, he represented the country of France. His goals were to explore the coast of the "New Land" and to find a passage to the Orient. It was believed that there might be a passage between North and South America, and so he was chosen by King Francis I to sail to this area and discover a new and quicker route to the Orient. He returned to France after several voyages with a claim of the New World for France on July 8, 1524. His main route was across the Atlantic to mainly Central and North America. He made contact with the natives on most voyages, trading with them and learning about the land. In 1528, while exploring Florida, the Bahamas and the Lesser Antilles, Giovanni anchored his ship away from shore and rowed ashore in a little boat to greet the natives. He soon discovered they were not pleasant natives who wished to trade, but cannibals. He was killed and eaten immediately while his brother watched helplessly from the ship. Image Size: 18.5 x 18.5 in. Overall Size: 26 x 23.75 in. Unframed. (B09000)

Chris Calle (American, B. 1961) "Olympic Centennial Games - Equestrian" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 32c Equestrian Classic Collection Series stamp issued May 2, 1996. The first Equestrian Olympic Competition was held at the Paris Games of 1900. Accomplished horsemen and their superbly-trained mounts competed in high jump, long jump and individual dressage events. As in all Olympic sports, riding has its great champions -- those who have mastered the correct combination of flexibility, dexterity and control that equestrian events demand. Successful horsemanship requires the rider to establish a genuine partnership with his mount, demonstrating a fine balance of firmness and gentleness in controlling the horse. The skills mastered by the Olympic equestrian are not soon diminished, and talented champions have returned to the games for repeat performances. The grueling three-day Olympic event begins with a dressage competition followed by an endurance test and ends with show-jumping. Equestrian competition in the Olympic Games is a dignified, regal and athletically demanding contest deservedly entitled the Sport of Kings. Image Size: 18.75 x 10.25 in. Overall Size: 23.25 x 14.5 in. Unframed. (B15500)

J. Craig Thorpe (American, B. 1948) "New Mexico Locomotive" Signed lower left. Original oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States New Mexico Commemorative Cover postmarked July 10, 1995. "Young man, the Santa Fe will put you in Chicago in 46 hours, if steam and steel will hold together. We've got the roadbed, the equipment, and the men." That was the promise made by J.J. Bryne -- General Passenger Agent of the Santa Fe Railway in Los Angeles -- to Walter Scott on July 8, 1905. Scott -- better known as Death Valley Scotty, once a rider for Buffalo Bill -- had requested that the railroad pull out all the stops to get him to Chicago in record time. Obsessed with speed, Scotty plunked down $5,500 and drawled, "Pardner, I like your talk. It sounds good to me. Line 'em up along the way and tell 'em we're comin'." The following afternoon, Scott, his wife, the Santa Fe's Frank Newton Holman and a press association correspondent boarded the Coyote Special bound for the Windy City. Assigned to handle the engines that would speed the Special on its mission were the "Nervy Nineteen," men who "had been picked because they thought there were no curves in the Santa Fe!" Steaming through the mountains and breaking records all along the 2,265-mile route, these engineers each took over the reins of the succession of iron horses that put the Special into Chicago's Dearborn Station at 11:54 a.m. on July 11 -- just 44 hours and 54 minutes after the odyssey had begun. Shown here is Santa Fe's No. 1000, which made the run from Winslow, Arizona, to Gallup, New Mexico. This four-cylinder, 2-6-2, "Prairie" type engine was built by Baldwin Locomotive Works in 1901. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15145)

ARTIST: John Dobby Walker (United Kingdom, 1863 - 1925)NAME: LandscapeMEDIUM: watercolor on paperCONDITION: Excellent. Framed under glass.SIGHT SIZE: 5 1/2 x 7 1/2 inches / 14 x 19 cmFRAME SIZE: 12 x 14 inches / 30 x 35 cmSIGNATURE: Lower leftCATEGORY: antique vintage paintingSKU#: 115827US Shipping $42 + insurance.AD: ART CONSIGNMENTS WANTED. CONTACT USJohn Dobby Walker (United Kingdom, 1863 - 1925)John Dobby Walker (1863-1925) was a painter born in Bradford who started his working career as a coach trimmer and painter at Sheethams, a local coach building firm. His first piece of art work was painting a crest on a carriage. He studied painting at the Bradford Church Institute and, following a spell as an art teacher, devoted his time to painting, mainly landscape views.In addition to his work in England and Scotland, he visited Holland, Spain, Italy, painting scenes from his travels, and he exhibited at the Royal Academy, Royal Institute of Painters in Watercolour and at the Walker Art Gallery, Liverpool. The Dowager Empress of Russia bought two of his paintings from a Royal Academy show. The Bradford Museums and Galleries collection also acquired his work at one time, and it can be found in the collection of Richmond Town Hall, North Yorkshire.In 2001 the Harrogate art dealer, Paul McTague, held an exhibition of over 100 of John Walker’s watercolours. McTague told the local newspaper that despite his extensive European travels, the artist was вЂvery much inspired by Yorkshire – particularly scenes around Bradford’.

ARTIST: Antonio De Simone (Italian, 1851 - 1907)NAME: Ship - S.Y. Rainbow (titled lower left)YEAR: 1895MEDIUM: gouache on paperCONDITION: Some partially inpainted scratches (see pictures carefully). Framed under glass. Some scratches to frame.SIGHT SIZE: 17 x 25 inches / 43 x 63 cmFRAME SIZE: 20 x 28 inches / 50 x 71 cmSIGNATURE: lower rightNAME VARIANTS: Antonio DesimoneCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120168US Shipping $75 + insurance.BIOGRAPHY:Among the 19th and 20th century ship portraitists who practiced in Italian seaport cities, the father and son, Tommaso and Antonio de Simone are probably the best known. The son, Antonio de Simone worked in watercolor and watercolor variants, chiefly but not limited to gouache, while Tommaso, the father, is noted for working exclusively in oils.Antonio specialized in portraits of the great society yachts of the period, successfully capturing just about every important private yacht to visit Naples. These fine portraits were commissioned by the owners to show their vessels at anchor under Mount Vesuvius during their Mediterranean cruises. A noted aspect of his paintings is his use of a brilliant cerulean blue to portray sea and sky.Works by both Antonio and Tommaso de Simone are well known and recognized throughout the seafaring community. Their paintings have been sought out and acquired by many of the world's foremost museums and collectors. In recent years the investment value of works by the de Simones has increased dramatically as their paintings become more scarce and increasingly sought after. Their headland coastal views are some of the best to be found.

ARTIST: Jean Louis Senatus (Haitian, born 1949)NAME: Haitian LandscapeMEDIUM: oil on canvasCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 22 x 21 1/2 inches / 55 x 55 cmFRAME SIZE: 22 1/2 x 22 inches / 58 x 55 cmSIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121030US Shipping $60 + insurance.BIOGRAPHY:Jean-Louis Senatus was born on August 16, 1949 in Leogane, Haiti. In 1969 he began to paint and draw independently and soon enrolled in the Institute Lope de Vega, in Port-au-Prince. His teachers there were Rene Exume and Gerard Jolicoeur, who also taught at the Foyer des Artes Plastiques. A major turning point for Senatus came in 1973 when he met a Greek artist named Scodilis who was in Haiti for several months on leave from his job as art professor in New York City. Under the influence of Scodilis, Senatus refined his style and began using soft, luminous colors. His canvases became populated with slender, flowerlike figures going about their daily tasks.

ARTIST: Ron Stewart (Arizona, born 1941)NAME: Time of Caution (titled on verso)MEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 8 x 10 inches / 20 x 25 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftNAME VARIANTS: Ron StuartSKU#: 119968US Shipping $42 + insurance.BIOGRAPHY:Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY in 1941.In the over-crowded field of contemporary western artists, Ron Stewart's professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters.The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator.The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude.Ron has received awards multiple times at the competitive Death Valley Invitational, the George Phippen Memorial, and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show, and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze.His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years.Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan.

ARTIST: Ron Stewart (Arizona, born 1941)NAME: Winter Chill (titled on verso)MEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 8 x 10 inches / 20 x 25 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftNAME VARIANTS: Ron StuartSKU#: 119969US Shipping $42 + insurance.BIOGRAPHY:Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY in 1941.In the over-crowded field of contemporary western artists, Ron Stewart's professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters.The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator.The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude.Ron has received awards multiple times at the competitive Death Valley Invitational, the George Phippen Memorial, and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show, and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze.His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years.Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan.

ARTIST: Don Balke (North Carolina, born 1933)NAME: Mountain GoatYEAR: 1987MEDIUM: gouache on boardCONDITION: Excellent.SIGHT SIZE: 10 x 11 inches / 25 x 27 cmBOARD SIZE: 19 x 20 inches / 48 x 50 cmSIGNATURE: lower leftNOTE: This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. Wildlife of the 50 States 22c Mountain Goat/Washington stamp issued June 13, 1987. A breathtaking sight as they stand precariously at the edge of a precipice, Mountain Goats have a certain grace about them as they play king-of-the-hill among America's most remote peaks. Here, in the most remote retreats of the mountains, they scale incredible heights, jumping from precipice to precipice with sure-footed grace. Their rough-padded hooves, split into two spreadable toes, are perfectly suited to the rugged, precipitous mountain environment. Both nannies and billies sport beards and fleecy long shaggy outer coats that protect them from the wind. They are easily distinguished from their close relatives, the Big Horn Sheep, by long, thick, black horns which grow straight up, then curve back. Billies, who generally travel alone or in groups of two or three, become rivals at mating time, occasionally butting each other, but behaving gently, almost reverently, toward the female. By late spring the kids are born. The young Goats usually weigh about seven pounds at birth and within a half an hour can jump from rock to rock. During that time, they must learn about finding shelter and food in the hostile alpine environment. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120054US Shipping $60 + insurance.BIOGRAPHY:Balke, the youngest of ten children, grew up on a farm in northern backcountry of Wisconsin. His family was completely dependent on the land; they tapped trees to make maple syrup; used crosscut saws for logging and horses for their farmwork; they raised crops for themselves and as income. His upbringing instilled in him a love of nature and wildlife. He received his first art award in a Wisconsin state-sponsored art contest while at elementary school for a painting of a black bear roaming in the woods. After serving in the US Army, he married Barbara Schernick[citation needed] and they moved to Chicago where he enrolled in the Academy of Fine Arts, now known as the School of the Art Institute of Chicago. During his time at the Academy, he specialized in still-life paintings. After graduating, he was hired by a Chicago illustrating studio and eventually moved back to Wisconsin where he worked as a commercial art director. He won many awards for his work as an art director and illustrator. On his own time, late in the night, he painted and developed his skills as a wildlife artist. After 17 years, he left his work as an art director to devote himself completely to watercolors and wildlife art. By 1979, they had six children and a home in the village of Thiensville, Wisconsin. Balke's love of nature took him to the NC mountains where he bought 200 acres in McDowell County and built a home. In 1985, a gallery was added and the Don Balke Wildlife Gallery was opened. In 1987, his work was chosen as the illustration for the official NC Zoo poster. In 1992, the United States Post Office issued a series of first-class postage stamps portraying five different species of hummingbirds designed by Balke. Balke travels to Africa, Australia, Ireland, the Caribbean, and across the 50 United States for inspiration and research. His wife, Barbara Schernick Balke, does extensive research on the animals and their habitats in preparation for the paintings and does much of the photography on research trips. He is best known for his detailed and realistic watercolor paintings portraying wildlife in their natural environment. In 2000, he transitioned to a more impressionistic style with oils portraying scenes from Yosemite National Park in California, Ocracoke Island on the Outer Banks, and Grandfather Mountain in North Carolina.

ARTIST: Don Balke (North Carolina, born 1933)NAME: Bird - Blue JayYEAR: 1986MEDIUM: gouache on boardCONDITION: ExcellentSIGHT SIZE: 11 x 11 inches / 27 x 27 cmBOARD SIZE: 19 x 20 inches / 48 x 50 cmSIGNATURE: lower rightNOTE: This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. Wildlife of the 50 States 22c Blue Jay/North Carolina stamp issued June 13, 1987. One of the most commonly found birds of the eastern United States, the Blue Jay is distinguished from other woodland birds by its piercing jay-jay-jay. Known for mimicking the harsh cries of hawks, the Blue Jay nevertheless occasionally sings its own soft, low song and imitates the musical sounds of other songbirds. An inhabitant of forests, suburban gardens and parks, this friendly bird is often found in close proximity to humans. The Blue Jay's curious nature excites birdwatchers who enjoy observing its theatrical antics. A blue-winged bird with white on its wings and tail, the Blue Jay displays a prominent blue crest and black necklace. Black barrings appear on its wings and tail, while its breast and face are white. Though the Blue Jay is easily spotted by its vivid coloring, it is a master of camouflage, able to hide among tree branches even during winter months. An active, noisy bird, the Blue Jay often travels in small parties and enjoys eating nuts, seeds, fruits and insects. During migration, this boisterous bird travels in loose flocks of five to 50 and is a fall and winter visitor to Oregon and California. The Blue Jay's nest is usually located in the fork of a tree or on a branch, and is made of moss, twigs and leaves, which both the male and female gather as a team. The female lays three to six eggs which hatch within 16 to 18 days. Young birds leave the nest in about three weeks. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120440US Shipping $60 + insurance.BIOGRAPHY:Balke, the youngest of ten children, grew up on a farm in northern backcountry of Wisconsin. His family was completely dependent on the land; they tapped trees to make maple syrup; used crosscut saws for logging and horses for their farmwork; they raised crops for themselves and as income. His upbringing instilled in him a love of nature and wildlife. He received his first art award in a Wisconsin state-sponsored art contest while at elementary school for a painting of a black bear roaming in the woods. After serving in the US Army, he married Barbara Schernick[citation needed] and they moved to Chicago where he enrolled in the Academy of Fine Arts, now known as the School of the Art Institute of Chicago. During his time at the Academy, he specialized in still-life paintings. After graduating, he was hired by a Chicago illustrating studio and eventually moved back to Wisconsin where he worked as a commercial art director. He won many awards for his work as an art director and illustrator. On his own time, late in the night, he painted and developed his skills as a wildlife artist. After 17 years, he left his work as an art director to devote himself completely to watercolors and wildlife art. By 1979, they had six children and a home in the village of Thiensville, Wisconsin. Balke's love of nature took him to the NC mountains where he bought 200 acres in McDowell County and built a home. In 1985, a gallery was added and the Don Balke Wildlife Gallery was opened. In 1987, his work was chosen as the illustration for the official NC Zoo poster. In 1992, the United States Post Office issued a series of first-class postage stamps portraying five different species of hummingbirds designed by Balke. Balke travels to Africa, Australia, Ireland, the Caribbean, and across the 50 United States for inspiration and research. His wife, Barbara Schernick Balke, does extensive research on the animals and their habitats in preparation for the paintings and does much of the photography on research trips. He is best known for his detailed and realistic watercolor paintings portraying wildlife in their natural environment. In 2000, he transitioned to a more impressionistic style with oils portraying scenes from Yosemite National Park in California, Ocracoke Island on the Outer Banks, and Grandfather Mountain in North Carolina.

ARTIST: Juan Ignacio Sardi (Spanish, born 1940)NAME: Still Life with Vase of FlowersMEDIUM: oil on canvasCONDITION: Few scratches. No visible inpaint under UV light.SIGHT SIZE: 19 x 12 inches / 48 x 30 cmFRAME SIZE: 21 x 15 inches / 53 x 38 cmSIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 119304US Shipping $60 + insurance.BIOGRAPHY:Juan Ignacio Sardi, self-taught painter, music lover and enthusiastic reader of poems. Born in Chipiona on April 29, 1940 in a humble family who lived then in Isaac Peral Street. Married to Regla Montalban Montalban, with a daughter named Marian who is also a painter.He started working at a young age, after trying first as a mason's pawn, at age 13 he does so in the American Base of Rota as "Pinche", where he traveled by bicycle. It is here that he alternates his work with his pictorial career. The Americans, eager to know our culture and customs, absorb through the painting of Juan Ignacio those shortages acquiring his paintings of flamenco, bullfighters, flowers, pitchers, etc.His life as a painter with unique dedication began at 24 or 25 years. At first he did it on bucaros, landscapes and things from Chipiona, such as the Sanctuary of Regla, the Lighthouse, views of the beach, because the sea was the permanent reason for his inspiration becoming, like the landscapes and monuments of Chipiona, the reasons for his pictorial creation.He has exhibited in addition to Chipiona, in almost all of Spain, Madrid, Barcelona, Valencia, Seville, Malaga, Cadiz etc.; in the United States, Holland, Austria, Belgium and Mexico.Net collaborator of all the cultural facets of Chipiona, he collaborated actively and free of charge with the Brotherhood of the Virgin of Regla del Pinar, in the realization of the posters in honor of the Virgin of Regla del Pinar, in addition to mounting the Bethlehem in its facilities Pinewood. Collaborating in the celebration of the Night of San Juan, with the burning of the "Juanillo" that he personally prepared.In the same way as with those of the Carnival of Chipiona, to which he was so linked, being one of the architects of the recovery of our Carnival in 1984.

ARTIST: Paul Hermann Wagner (Germany, 1852 - 1937)NAME: Mother & ChildMEDIUM: oil on canvasCONDITION: Missing a few flakes of paint. Two scratches repaired with some inpainting. Very minor craquelure. Normal wear along edges. SIGHT SIZE: 39 1/2 x 28 inches / 101 x 71 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120918US Shipping $149 + insurance.BIOGRAPHY:Paul Wagner was a landscape and figure painter who was born in Rothenburg on the 1st January 1852. He studied in Munich in 1875 with Ludwig Von Lofftz. He also studied with Wilhelm Von Lindenschmit and in 1884 studied under Albert Schmidt in Schafflerstrae. He is known for his superb technique and brushwork in his figures of Nymphs, Fairies and also his landscape paintings.

ARTIST: Giuseppe Gambino (Italian, 1928 - 1997)NAME: Jerez Iglesia De San Luca (titled on verso)MEDIUM: oil on canvasCONDITION: Restretched. Missing few flakes of paint in lower right corner. No visible inpaint under UV light.SIGHT SIZE: 27 x 23 inches / 68 x 58 cmFRAME SIZE: 30 x 26 inches / 76 x 66 cmSIGNATURE: lower right and on versoCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 118368US Shipping $90 + insurance.BIOGRAPHY:Giuseppe Gambino painter born in Vizzini, Sicily in 1928, and is primarily known for his abstract expressionist landscape & cityscape paintings in oil and watercolors of Venice houses, churches, buildings and palaces, figurative works and still lifes. By 1945, he was working as a typesetter in Bologna, Italy and also worked in the graphic advertising industry. In 1954 he moved to Venice, Italy and soon dedicated himself fully to painting. In 1963 he and his family moved to Preganziol, Italy where he remained until his death in 1997. Gambino had many successful solo and group exhibitions nationally and internationally over the course of his career from 1954-1989, especially at the 1956 Biennale di Venezia (Venice), Italy, the Quadriennale d'Arte di Rome, Italy in 1959 and the Fondazione Bevilacqua La Masa in Venice, Italy. Many major exhibitions were held throughout the United States, Germany and also Spain to name a few. With help from his father, who was an official superintendent of Fine Arts, Gambino won first prize at the Palazzo Ducale in Mantua, Italy, and also at La Gallerie Estence in Modena, Italy.Gambino's work can be found in many galleries and private collections worldwide. He also was the theatrical set and costume designer for the comedy "The Four Rusteghi", directed by Paul Trevisi (circa 1976), which also became a traveling play. His paintings often started by a faithful reproduction of what he called "Landscape" (Italian: "Paesaggio", which he would often write on the back of his paintings preceding the rest of the title for the piece), and then would continue with redesigning the form that created the framework within a harmonic musicality. His works usually feature an explosion of colors and shapes which often have the feeling of being unfinished, but are beautifully held within the framework of each painting. Gambino died in 1997 in Preganziol, Italy. In January of 2001, the 'Friends of Giuseppe Gambino' was formed to safeguard, develop, disseminate and exhibit his work.

ARTIST: Theophile Emmanuel Duverger (France, 1821 - 1886)NAME: Classroom AnticsMEDIUM: oil on boardCONDITION: Very good. Minor stable craquelure. No visible inpaint under UV light.SIGHT SIZE: 14 x 10 1/2 inches / 35 x 27 cmFRAME SIZE: 24 x 20 inches / 60 x 50 cmSIGNATURE: lower leftPROVENANCE: Auctioneer James D Julia, Date 2017-02-09, Lot 1248CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120893US Shipping $60 + insurance.BIOGRAPHY:Sympathetic genre scenes, especially those including children, proliferated during the mid-nineteenth century in France, often finding their inspiration in 17th-century Dutch paintings. Artists combined the experience of the Realist painters and their depiction of scenes from everyday life - without the occasional grittiness of their depictions - with the increasing interest in children to generate a series of charming images evoking the pleasant simplicity of rustic life. Theophile-Emmanuel Duverger, like Benjamin Eugene Fichel, contributed to this genre tradition, creating sentimental and nostalgic images that continue to retain their appeal for today's audience.Theophile-Emmanuel Duverger was born in Bordeaux, France, on September 17, 1821. Duverger was an exceptional character since he was an autodidact, skipping the formal training taken by many of his contemporary artists who also found success at the Parisian Salon. Instead, Duverger relied on his artistic inclinations based on his experience with nature, especially during his time at Ecouen, as well as his understanding of other painters whose works he may have seen while visiting museums. This type of personal training had its benefits since one could follow whatever path they desired instead of being brought into the occasionally tumultuous world of the Parisian ateliers, where rivalries often ran rampant and occasionally polarized the art community.While Bordeaux did have its own art scene, Duverger relocated to the art colony of Ecouen, started by Pierre Edouard Frere, in the Seine-et-Oise region near Paris, where Duverger eventually found success at the Salon and later commissions. The Ecouen colony boasted many other artists, including Auguste-Frederic-Albert Schenk, Jules-Jacques Veryrasset, Emile Lambinet, Emile-Louis Vernier, and Andre-Henri Dargelas, among several others. Duverger was Dargelas' father-in-law, and their work shows many similar tendencies. Duverger may have been inspired by Frere's compositions which also focused on depicting the home, family, and especially children. Ecouen, just eight miles outside of Paris, was the perfect location for artists to retreat from the bustling city and maintain close ties with the Salon.Duverger began exhibiting at the Salon at a critical time - 1846, even before the Salon was held in the Louvre and just two years before the 1848 Revolution, when Parisians took to the streets in revolt against the corrupt government of the July Monarchy. Duverger's images were far removed from the grim reality of the social and political scene in Paris at this time and instead focused on the cheerful nature of family life in rural France. But this imagery evolved only over time, and in his early years, he began his public showings with portraiture. His debut painting at the Salon of 1846 was Portrait of Mademoiselle Z...D....After the 1848 Revolution, France ushered in the Second Republic and later the Second Empire. Duverger's charming and unchallenging imagery found a ripe audience during this period of the Second Empire in Paris. A Time when an increasing middle class began to seek out artists and imagery that had removed itself from the heavily academic interests of many of the other Salon artists still practicing historical or mythological painting. It was not until the early 1850s that Duverger moved away from exhibiting portraiture at the Salon to paintings that were more representative of the style now commonly associated with him. In 1861, fifteen years after first exhibiting at the Salon, Duverger earned his first award; a third-class medal for his numerous showings, including La Gamelle du Grand Papa (The Mess Tin of Grandfather), Attente (The Wait), Echard (The Splinter), La Convalescence, (The Convalescence), Les Dames de Charite (Women of Charity). In 1863 he received an honorable mention, and in 1865 he received a second medal for Le Paralytique (The Paralytic) and Le Laboureur et Ses Enfants (The Worker and His Children). The Salon critic, Louis Auvray, was taken with the latter painting and wrote in his Salon review, Exposition des Beaux-Arts: Salon de 1865, that:The painting of the worker and his children, by Mr. Duverger, is a composition that touches you profoundly. The worker, feeling that life is leaving him, brings together his children around his bed, and, holding out his hand to his oldest son, begs him to return to his duty. The child, with his head down, overwhelmed by the reproach, struggles internally against his negative bents, which he tries to dominate to promise a return to the better. But his wife, who is breast-feeding her last child, appears to doubt that there will be any change possible to her husband's bad behavior.Duverger also submitted his work to the 1889 Exposition Universelle in Paris, where he received a bronze medal. In 1893 his painting L'Intemperance (Intemperance) was shown at the 1893 Columbian Exposition in Chicago. Duverger continued submitting his work to the Salon until 1898. Towards the end of his career, he, like many other artists, began exhibiting drawings and paintings, but for his last work, Duverger exhibited the painting Allant aux Champs (Going to the Fields). He died on August 25, 1898.Duverger showed a range of capabilities in his choice of imagery, ranging from the most well-known cheerful scenes of domestic life, but also knew how to speak to a more aristocratic audience with works that concentrated on the luxury of idleness and the splendor of interior settings. Examples of his work can now be found in the Musee des Beaux Arts, Bordeaux; Le Musee Artistique et Archeologique, La Roche-sur-Yon, and the London Guildhall Art Gallery.

ARTIST: Anthonij Rudolf Mauve (Netherlands, 1838 - 1888)NAME: Beach Scene with Fishing BoatMEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 7 x 8 inches / 17 x 20 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120882US Shipping $29 + insurance.BIOGRAPHY:Anthonij (Anton) Rudolf Mauve was a Dutch realist painter who was a leading member of the Hague School. He signed his paintings 'A. Mauve' or with a monogrammed 'A.M.'. He was a very significant early influence on his cousin-in-law Vincent van Gogh.Most of Mauve's work depicts people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism. His best known paintings depict peasants working in the fields and especially sheep herding scenes. His paintings of flocks of sheep were especially popular with American patrons.Anton Mauve was born on 18 September 1838 in Zaandam, a town in the Dutch province of North Holland. A year after his birth his father, a Mennonite chaplain, was sent to Haarlem, the capital city of the province, where Mauve grew up.He was apprenticed to the painter Pieter Frederik van Os followed by Wouter Verschuur. In his further development, he worked with Paul Gabriel, painting from nature, and they regularly stayed and worked together at Oosterbeek, a village in the Dutch province of Gelderland.In 1872 Mauve settled in The Hague where he became a leading member of the Hague School of painters inspired by the French Barbizon School in turn by the work of John Constable.In the last two years of his life Mauve settled in the village of Laren in the region surrounding Hilversum called het Gooi. The group of painters who settled there, including Jozef Israels and Albert Neuhuys, came to be known collectively as the Larense School and the region around het Gooi was dubbed 'Mauve land' as far afield as the United States.Mauve died suddenly in Arnhem on 5 February 1888.Mauve was married to Vincent Van Gogh's cousin Ariette (Jet) Sophia Jeannette Carbentus and was a major influence on Van Gogh. He is mentioned directly in 152 of Vincent's surviving letters.Vincent spent three weeks at Mauve's studio at the end of 1881, and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio but later grew cold towards him and did not return a number of letters.

ARTIST: Auguste Jules Marie Leroux (France, 1871 - 1954)NAME: Flamenco Dancer at MirrorMEDIUM: oil on boardCONDITION: Few small paint losses. Few very small scattered inpaintings/touch ups.SIGHT SIZE: 9 1/2 x 7 1/2 inches / 25 x 20 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120072US Shipping $42 + insurance.BIOGRAPHY:Jules Marie Auguste Leroux was a French painter and illustrator. His younger brother Georges Paul Leroux (1877-1957) was also a brilliant artist who won the Prix de Rome in painting in 1906 and was a member of the Academie des Beaux-arts.Jules Marie Auguste Leroux was born in the 3rd arrondissement of Paris on 14 April 1871, during the Commune.As a young man he entered the Ecole nationale superieure des arts decoratifs where he studied drawing of nudes from models and after academics. He was forced work on fashion drawings and illustrations for children.In 1892 he was then admitted to the Ecole nationale superieure des Beaux-Arts on the Rue Bonaparte, where he studied in the studio of Leon Bonnat (1833-1922).He won many successes including the 3rd drawing Medal in January 1892, the 2nd Medal in July and the 2nd Medal in November of that year. He did his military service with the 46th Infantry at Fontainebleau.Back in Paris in September 1893, he won the prize for figure drawing in November 1893 and the prize for torso in March 1894. He remained with the school until he was aged 23.He won the first Grand Prix de Rome in June 1894 with "Judith presenting the Head of Holofernes to the people of Bethulia", painting preserved at the National School of Fine Arts of Paris.He left for Italy for three years of study at the Villa Medici in Rome from 1895-1898, accompanied by the painter Adolphe Dechenaud and musician Henri Rabaud.At the villa, he met the musician Henri Busser, with whom he befriended and whose portrait he painted.He exhibited at the Salon of French artists from the beginning of the year 1898. He earned a bronze medal at the Universal Exhibition in Paris in 1900.Auguste Leroux was a Professor at the Ecole nationale superieure des Beaux-Arts in Paris for 30 years, a jury member of the committee of French Artists Society in 1904, an art teacher at the Academy de la Grande Chaumiere, and was made a knight of the Legion of Honor.Auguste Leroux was a great success as an illustrator of works by authors such as Giacomo Casanova, Joris-Karl Huysmans, Honore de Balzac, Gustave Flaubert, Stendhal and Anatole France. These editions are highly prized by bibliophiles.He died in Paris on 26 March 1954.

ARTIST: Louis P Fabien (American, France, 1924 - ?)NAME: Choix d un Contume (titled on verso)YEAR: 1999MEDIUM: oil on canvasCONDITION: Excellent. No visible inpaint under UV light.SIGHT SIZE: 36 x 29 inches / 91 x 73 cmFRAME SIZE: 42 x 35 inches / 106 x 88 cmSIGNATURE: lower right and on versoCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120970US Shipping $149 + insurance.BIOGRAPHY:Louis Fabien was born January 18, 1924 in L'Isle-Jourdain in the French department of Vienne. Fabien is a self-taught figurative painter who uses a modern form of pointillism in his colorful paintings. Fabien has exhibited artwork in Paris salon shows and has had one-man shows in France, the United States, Japan, England and Germany. In the early 1950s he exhibited at the Salon d'Automne and in 1953 at the Salon de la Jeune Peinture, of which he served as president in 1964 and in 1965. In 1957 he was accorded the Prix Greenshields. Fabien's paintings are in the collections of the French State, the City of Paris, and the Petit Palais of Geneva.

ARTIST: Ernest Walbourn (British, 1872 - 1927)NAME: Landscape with Peasant WomanMEDIUM: oil on canvasCONDITION: Few minor paint losses mostly along edges. Minor craquelure. No visible inpaint under UV light.SIGHT SIZE: 20 x 30 inches / 50 x 76 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120890US Shipping $90 + insurance.BIOGRAPHY:Ernest Charles Walbourn was a British landscape painter of rural and farming scenes. He was the second of five children and was educated locally. His father, who owned property in Tasmania/Australia, initially disapproved of his artistic ambitions, but later helped with the setting up of a studio at the family home and the funding of his art training.In 1895 he settled in Chingford, Essex and began exhibiting at the Royal Institute of Oil Painters. From 1897 his paintings were exhibited at the Royal Academy and at the Royal Society of British Artists. His works were well received, many being sold through the London art dealers, W. W. Sampson & Louis Wolfe. In 1906, he married Eva Gardner who assisted by painting the backgrounds of some of his larger works, later achieving recognition in her own right.

ARTIST: Eva Hollyer (British, 1865 - 1948)NAME: Mothers JoyMEDIUM: oil on canvasCONDITION: One patch repair with minor corresponding inpainting.SIGHT SIZE: 21 x 9 inches / 53 x 22 cmFRAME SIZE: 29 x 17 inches / 73 x 43 cmSIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121177US Shipping $75 + insurance.BIOGRAPHY:Eva Hollyer was born in 1865 in Walworth, South London as Evangeline Grace Ellen Hollyer. She was the first child of a family of 10 of William Perring Hollyer and Grace Emily (nee Rooke), who had married in 1864. It was a very artistic family. William Perring Hollyer (1834-1922) himself was a noted artist of animals and is best remembered for his paintings of highland stags, cattle and sheep which were very popular subjects in the latter half of the 19th century. William's father was Joseph Hollyer, a heraldic painter and coachbuilder of Dover who moved with his family to South London in 1851 and then diversified into the then new technology of using acid to etch glass. Several of Joseph's other children became Glass Artists and there were several generations of Hollyers who followed this trade or moved into gold-leaf signwriting. William was however the only son who used his artistic skills in painting.In her childhood, it appears that Eva's skills were more in music than art, since the 1871 census records her at the tender age of 6 as being a pianist. However, Eva too became an artist and amongst her exhibited works were Expectation (1891), A Tiff (1892) and The Course of True Love Never did Run Smooth (1892). She also exhibited at the Royal Academy Summer Exhibition in 1891 (Hurt), 1894 (Happy) and 1898 (Spring). At this time the family were living in Cheshire. Her main work was figure painting and her sister Verna often sat for her. Many of her paintings were illustrations for books and she also produced many illustrated postcards.In 1906, at the age of 41, she married her cousin Joseph Richard Hollyer at Pontardawe in Wales. He too was an artist, but he was only 19 at the time. They both told 'little white lies' to the Registrar as the marriage certificate shows their ages as 35 and 22 respectively. It appears the marriage may have been a sham, as nothing more is heard of Joseph: there was no family and there is also no record of Joseph's death, so he may have moved abroad.During the 1920s and 30s, Eva lived with her sister Maud. She wrote a delightful article for Woman's Magazine in December 1927 called Our Property Venture describing their conversion of a country cottage called Wayside Cottage with drawings by herself and Maud. It was always thought that this article described the cottage that Eva and Maud actually lived in, as the article appears to be factual in style. In truth it now appears that they did indeed convert a cottage, but this was not until 1928. The cottage was called Littleholme and is at Inglesham in Wiltshire. It's quite different from the thatched cottage shown in the article. Eva and Maud lived there from 1928 to 1938. A full description of the cottage can be found here.

ARTIST: William Oliver (French, English, 1823 - 1901)NAME: Mother and ChildMEDIUM: oil on canvasCONDITION: Minor craquelure. Few small scattered inpaitings mostly along left and bottom edge. Some damages to frame.SIGHT SIZE: 12 1/2 x 10 1/2 inches / 33 x 27 cmFRAME SIZE: 21 x 19 inches / 53 x 48 cmSIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120938US Shipping $60 + insurance.BIOGRAPHY:William Oliver Williams was an English figurative and genre artist based in London who specialised in paintings of young women. He used the professional name William Oliver. He has sometimes been mistakenly referred to as 'William Oliver the Younger' or 'William Oliver II'.Oliver was born in Worcester in 1823, the son of the surgeon William Williams and his wife Jane (maiden name Oliver).Oliver was enrolled (as William Oliver Williams) as a Probationer at the Royal Academy Schools of the Royal Academy of Arts on 18 July 1848 (recommended by Thomas Clark (sic) from Birmingham) and as a student on 16 December 1848. The Schools' register, and other sources, indicate that he also worked at the Government School of Design, Birmingham (see Birmingham School of Art), where he was the assistant master (1849-1851) and the headmaster was Thomas Clarke (1846-1851). Whilst a student at the Royal Academy, he won 1st prize for his drawing from the antique in 1851 in the annual Premiums.During the early part of Oliver's career he added his surname when signing his works. This was seen with his two works exhibited at the British Institution in 1851 and 1852. He also used the name William Oliver Williams when he exhibited six paintings between 1858 and 1863 at the Royal Academy of Arts. In 1858 the first of two paintings was titled Portrait of a gentleman while the second was Rev. B.H. Kennedy, President of the School of Art, Shrewsbury. At this time Oliver had a Shrewsbury address, possibly suggesting that he worked at the local school of art. The final painting in 1863 was titled Crossing the ford.In the early 1850s, Oliver received a commission from the Arundel Society to tour Northern Italy and make drawings and watercolours of the classical masterpieces in the churches and galleries. His full name was first mentioned (as 'a young artist from the Royal Academy Schools') in the Society's fourth annual report in 1853. His task was to make drawings of Giotto's fresco in the Arena Chapel in Padua (see Scrovegni Chapel). Engravings were then made from these drawings. He therefore played a key role in producing one of the Arundel Society's most important early publications. Copies of the book of the engravings are in both the collections of the Royal Academy and the Royal Collection Trust.Sixteen watercolours which Oliver is thought to have painted for the Arundel Society are recorded to have survived. In 1978, they were held in the Fine Art Department of the University of Leeds. More recently, three examples of these chiaroscuro watercolours have been reported to be held by the Victoria and Albert Museum Oliver also painted a number of additional watercolours derived from the Padua frescos, which he sold and which were owned privately in 1978. They have been described as 'highly finished and beautifully executed' and Oliver was described as 'a careful draughtsman and skilful water-colourist'. His watercolours were displayed by the Arundel Society at the Crystal Palace, Sydenham in 1855-6, and were praised by Dante Gabriel Rossetti.After recovering from bankruptcy in 1863, by the late 1860s he was based in London and had adopted his more well-known professional name which he used thereafter. He continued to exhibit at the Royal Academy of Arts and British Institution (Tryste) in 1867, and at the Society of British Artists (The First Letter) in 1868. Subsequently, he also exhibited at the Walker Art Gallery Liverpool, Manchester Art Gallery, Royal Birmingham Society of Artists and Royal Glasgow Institute of the Fine Arts. His favoured exhibition venue was the Royal Academy of Arts. He exhibited 15 more works there starting with A thing of beauty is a joy for ever and Forget me not in 1867, and finishing with Mrs Oliver Williams in 1897. It is recorded that at least one of his paintings had sold in one of the major auction galleries for more than ВЈ100 during the 1970-1975 period.His works mainly depicted figures of young women and pretty girls, or an attractive woman sometimes in Greek or Roman costume. Oliver's paintings were popular at the time and prints were made in response to demand. This popularity is reflected in the fact that 33 of his paintings are exhibited in public museums and galleries throughout the United Kingdom, as seen on the Art UK web site. There is one of Oliver's oil paintings in the Royal Collection. It is titled Jack's Letter and is signed and dated 1881. It was presented by Mr and Mrs E. Johnson as a wedding present to the Duke and Duchess of York, 6 July 1893.Oliver's paintings are still available from dealers and at auctions. Examples of high recent auction prices for his paintings are ВЈ4,320 for The letter at Bonhams on 21 June 2011 and ВЈ5000 for Reclining Beauty at Christie's on 11 March 2015.

ARTIST: Josephine Vaughn Mahaffey (Texas, 1903 - 1982)NAME: Still Life with FlowersMEDIUM: watercolor on paperCONDITION: Some staining. Some wear. Crumpling. Some damages to edges.SIGHT SIZE: 29 x 20 inches / 73 x 50 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 119221US Shipping $75 + insurance.BIOGRAPHY:Mahaffey, Josephine Vaughn (1903–1982). Josephine Vaughn Mahaffey, artist, teacher, and business woman, was born on March 16, 1903, to George I. Vaughn and Kate (Carr) Vaughn in Hopkins County, Texas. She grew up in San Marcos, Texas. Some sources, including the 1930 federal census, have listed her first name as Marjorie (or Marjerie), but most official records simply list her with the first name of Josephine. She studied art at the College of Industrial Arts (now Texas Woman’s University) in Denton, where she won an art contest with a picture painted from different tones of shoe polishes. In 1922 Josephine Vaughn married Mark Mahaffey, who worked for a meat packing plant, and moved to Fort Worth where she continued to study art under the tutelage of Sallie Mummert until Mummert’s death in 1938. From this point Mahaffey studied with such area artists as Clinton Blair King, Octavio Medellin, and Kathleen Lawrence. Mrs. Mahaffey later returned to Texas Woman’s University to earn her B.A.Mahaffey had seven sons and one daughter while she continued her career as an artist and a business woman. She operated a grocery store in Fort Worth for several years and built the enterprise to include three stores before selling it to a larger chain of grocery stores. Following the sale, Josephine Mahaffey bought a ranch north of Fort Worth and opened a private art gallery where she focused on her art and her passion for teaching others the love of painting.Mrs. Mahaffey was known for her quick rapid-fire painting technique which she called, “direct painting.” She was a prolific painter and worked with many different types of surfaces, including a Houston city map, newsprint, and brown paper bags. Her methods often included quickly capturing a first impression in watercolors and later using these initial studies to help her paint the scene using oils.Josephine was a teacher and advocated arts education. She taught at the Woman’s Club of Fort Worth, the Fort Worth Art Center, the Northside Boys Club, and the Arlington YWCA. In addition, she participated in many workshops, attended re-fresher courses, was a charter member of the Fort Worth Art Association, president of the Professional and Amateur Art Association, president of the Composers Authors and Artists–Fort Worth Branch, and a lecturer, judge, and participant in many art shows. She was also a member of the Fort Worth Color Society, Adventures in Art, and the Fort Worth Woman’s Club, which presented Mahaffey with a gold locket for many years of service. In 1957 Coronet magazine referred to her as “Mama Mahaffey, the Texas Dynamo.” She exhibited her work both internationally and locally and was especially known for her shows at the Texas State Fair. In 1968 the State Fair of Texas honored her with a “Josephine Mahaffey Day.”Josephine Vaughn Mahaffey passed away on March 14, 1982, two days before her seventy-ninth birthday in Fort Worth, Texas. She left a legacy of promoting and advancing the visual arts in Texas with her thousands of artworks and her teaching. In 2010 the Fort Worth Community Arts Center hosted a retrospective on her work.

ARTIST: Donald Roy Purdy (Connecticut, 1924 - 2016)NAME: Woman Starring at LandscapeMEDIUM: oil on boardCONDITION: Missing a few flakes of paint. No visible inpaint under UV light.SIGHT SIZE: 24 x 36 inches / 60 x 91 cmFRAME SIZE: 36 x 48 inches / 91 x 121 cmSIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121179US Shipping $249 + insurance.BIOGRAPHY:Self-taught, Purdy was influenced by many artists, including the Barbizon School, French Impressionists and Post-Impressionists, and American 19th Century Painters. No particular artistic influence was evident during his childhood. After high school, he enlisted in the army air force and entered Germany as a foot soldier with the 9th army. After the war, Purdy pursued a degree in Psychology, graduating in 1949 from the University of Connecticut and from Boston University with his Master's in Psychology in 1950. While in Boston, Purdy worked in an art gallery, performing tasks such as framing pictures. It was here that he first became art-conscious and was surprised to learn that individuals actually chose art as a profession.Purdy lived and painted most of his life in New England. He exhibited extensively throughout the U.S. and Europe, including: The Britain Museum, Connecticut; The Butler Institute, Columbus, Ohio; Colby College, Maine; The University of Kansas; The Chrysler Collection; and Bernheim-Jeune Galleries, Paris. In addition, he has been honored with numerous awards including a Gold Medal from the Allied Artists. He was a teacher of painting at the Silvermine Academy of Art in Connecticut and is listed in Who's Who in American Art.

ARTIST: Paul Calle (Connecticut, New York, 1928 - 2010) & Chris Calle (US,Born 1961)NAME: 1920s - ProhibitionYEAR: 1998MEDIUM: mixed media on boardCONDITION: Excellent.SIGHT SIZE: 17 x 14 inches / 43 x 35 cmBOARD SIZE: 23 x 16 inches / 58 x 40 cmSIGNATURE: lower rightNOTE: This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32c Prohibition Enforced stamp issued May 28, 1998. On October 28, 1919, the Volstead Act was passed, providing enforcement of the recently ratified 18th Amendment, prohibiting the manufacture, sale or transportation of alcoholic beverages in the United States. President Herbert Hoover declared Prohibition to be "a great social and economic experiment, noble in motive and far-reaching in purpose." Most Americans, however, tended to disagree, especially those living in cities where illegal saloons or speakeasies flourished. Along with speakeasies came the men who supplied the illicit spirits, gangsters such as Frank Costello and Al Capone. Before long, the explosive growth of bootlegging and organized crime led to the broad corruption of public officials. Fewer than 1,600 liquor enforcement agents patrolled a nation inhabited by more than 105 million people, which possessed two lengthy borders and more than 18,000 miles of coastline. And since agents were paid miserable wages, few were dedicated to their work. Two notable exceptions were agents Izzy Einstein and Moe Smith -- famous for donning elaborate disguises to catch offenders. Calls for repeal of Prohibition began as early as 1923. It wasn't until February 20, 1933, however, that Congress passed the 21st Amendment, repealing the 18th Amendment and making liquor legal again. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 118692US Shipping $60 + insurance.BIOGRAPHY:Paul Calle, Postage Stamp Designer, Is Dead at 82 By MARGALIT FOX The cause was melanoma, said his son Chris, who is also a stamp designer. A longtime Stamford resident, Mr. Calle (pronounced KAL-ee) designed more than 40 United States stamps, licked by generations of postwar Americans. He was best known for the 10-cent stamp, commissioned by NASA and issued in 1969, commemorating the Apollo 11 moon landing that year. His other stamps include ones honoring Gen. Douglas MacArthur (1971), Robert Frost (1974), the International Year of the Child (1979), Helen Keller and Anne Sullivan (1980), Frederic Remington (1981), Pearl S. Buck (1983), the Vietnam Veterans Memorial (1984) and folk-art carousel horses (1988 and again, with new artwork, in 1995). Mr. Calle's work has been exhibited at the National Gallery of Art in Washington, the National Cowboy and Western Heritage Museum in Oklahoma City and elsewhere. With Chris, he designed two 1994 stamps a 29-cent first-class stamp and a $9.95 express-mail stamp commemorating the moon landing's 25th anniversary. Father and son also collaborated on stamps for Sweden, the Marshall Islands, Micronesia and the United Nations. Paul Calle was born on the Lower East Side of Manhattan on March 3, 1928. He earned a bachelor's degree from Pratt Institute in Brooklyn and during the Korean War was an illustrator for the Army. Early in his career, Mr. Calle did cover artwork for science-fiction pulp magazines like Galaxy, Fantasy Fiction and Super Science Stories, as well as for general-interest publications like The Saturday Evening Post. In 1962, he was among the inaugural group of artists chosen for the NASA Art Program, a documentary record of the space program that has produced thousands of works to date. Mr. Calle's early art for the program includes a pair of 5-cent stamps, issued in 1967, depicting the Gemini casule and the astronaut Ed White making the first American spacewalk in 1965. On July 16, 1969, the day Apollo 11 was launched, Mr. Calle was the only artist allowed to observe the astronauts, Neil Armstrong, Michael Collins and Buzz Aldrin, as they readied themselves for the mission eating breakfast, donning their spacesuits and the like. He captured their preparations in a series of intimate pen-and-ink sketches later exhibited at the National Air and Space Museum. That morning, when the astronauts lifted off, one of the things they carried was the engraved printing plate of Mr. Calle's commemorative stamp. As the moon lacked a post office, a proof made from the plate was hand-canceled by the men aboard the spacecraft. Mr. Calle's wife, the former Olga Wyhowanec, whom he married in 1951, died in 2003. Besides his son Chris, he is survived by another son, Paul P., a veterinarian at the Bronx Zoo; a daughter, Claudia Calle Beal; and six grandchildren. Interviewed after the moon landing, Mr. Calle divulged the secret of his rigorous craft: "When you do a stamp," he said, "think big, but draw small."

ARTIST: Paul Calle (Connecticut, New York, 1928 - 2010) & Chris Calle (US,Born 1961)NAME: Japanese Aggression ArousesYEAR: 1998MEDIUM: mixed media on boardCONDITION: Excellent.SIGHT SIZE: 10 x 13 inches / 25 x 33 cmBOARD SIZE: 13 x 20 inches / 33 x 50 cmSIGNATURE: lower rightNOTE: This painting originally appeared on the Republic of the Marshall Islands The 20th Century series 60? Japanese Aggression Arouses World Opinion stamp issued July 15, 1998. In 1931 the world watched with great concern as Japan, eager to expand its empire, invaded and conquered Manchuria -- China's main industrial center. Despite international criticism and sanctions, Japan continued its ruthless quest for new territories throughout the decade. On July 7, 1937, Japanese forces attacked Chinese units near Beijing eventually capturing the cities of Nanjing, Shanghai, Hangzhou and Guangzhou. Nanjing fell on December 13, 1937. Over the next six weeks, soldiers of Japan's Imperial Army committed the infamous "Rape of Nanjing," one of history's worst atrocities, during which an estimated 300,000 Chinese soldiers and civilians were killed -- and some 20,000 women raped. The once beautiful city of Nanjing was also burned and pillaged. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120041US Shipping $60 + insurance.BIOGRAPHY:Paul Calle, Postage Stamp Designer, Is Dead at 82 By MARGALIT FOX The cause was melanoma, said his son Chris, who is also a stamp designer. A longtime Stamford resident, Mr. Calle (pronounced KAL-ee) designed more than 40 United States stamps, licked by generations of postwar Americans. He was best known for the 10-cent stamp, commissioned by NASA and issued in 1969, commemorating the Apollo 11 moon landing that year. His other stamps include ones honoring Gen. Douglas MacArthur (1971), Robert Frost (1974), the International Year of the Child (1979), Helen Keller and Anne Sullivan (1980), Frederic Remington (1981), Pearl S. Buck (1983), the Vietnam Veterans Memorial (1984) and folk-art carousel horses (1988 and again, with new artwork, in 1995). Mr. Calle's work has been exhibited at the National Gallery of Art in Washington, the National Cowboy and Western Heritage Museum in Oklahoma City and elsewhere. With Chris, he designed two 1994 stamps a 29-cent first-class stamp and a $9.95 express-mail stamp commemorating the moon landing's 25th anniversary. Father and son also collaborated on stamps for Sweden, the Marshall Islands, Micronesia and the United Nations. Paul Calle was born on the Lower East Side of Manhattan on March 3, 1928. He earned a bachelor's degree from Pratt Institute in Brooklyn and during the Korean War was an illustrator for the Army. Early in his career, Mr. Calle did cover artwork for science-fiction pulp magazines like Galaxy, Fantasy Fiction and Super Science Stories, as well as for general-interest publications like The Saturday Evening Post. In 1962, he was among the inaugural group of artists chosen for the NASA Art Program, a documentary record of the space program that has produced thousands of works to date. Mr. Calle's early art for the program includes a pair of 5-cent stamps, issued in 1967, depicting the Gemini casule and the astronaut Ed White making the first American spacewalk in 1965. On July 16, 1969, the day Apollo 11 was launched, Mr. Calle was the only artist allowed to observe the astronauts, Neil Armstrong, Michael Collins and Buzz Aldrin, as they readied themselves for the mission eating breakfast, donning their spacesuits and the like. He captured their preparations in a series of intimate pen-and-ink sketches later exhibited at the National Air and Space Museum. That morning, when the astronauts lifted off, one of the things they carried was the engraved printing plate of Mr. Calle's commemorative stamp. As the moon lacked a post office, a proof made from the plate was hand-canceled by the men aboard the spacecraft. Mr. Calle's wife, the former Olga Wyhowanec, whom he married in 1951, died in 2003. Besides his son Chris, he is survived by another son, Paul P., a veterinarian at the Bronx Zoo; a daughter, Claudia Calle Beal; and six grandchildren. Interviewed after the moon landing, Mr. Calle divulged the secret of his rigorous craft: "When you do a stamp," he said, "think big, but draw small."

ARTIST: Paul Calle (Connecticut, New York, 1928 - 2010) & Chris Calle (US,Born 1961)NAME: 1900s - ImmigrationYEAR: 1997MEDIUM: mixed media on boardCONDITION: Excellent.SIGHT SIZE: 16 x 14 inches / 40 x 35 cmBOARD SIZE: 22 x 16 inches / 55 x 40 cmSIGNATURE: lower rightNOTE: This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32c Immigrants Arrive stamp issued February 3, 1998. "Give me your tired, your poor, your huddled masses yearning to breathe free." The poignant words of American poet Emma Lazarus' sublime poem, The New Colossus, inscribed on the Statue of Liberty, reflect America's attitude toward the millions of immigrants that landed on Ellis Island during the late 19th and early 20th centuries. As the nation's largest port of entry, the island received nearly three-fourths of all immigrants during its 40 years of full operation. Ellis Island received as many as 5,000 people a day, with the peak year for immigration occurring in 1907 when 1.3 million immigrants arrived. Most of America's immigrants between 1905 and 1907 were Russian Jews, Italians and people from the Austro-Hungarian Empire. Ellis Island's facilities included dormitories to accommodate 1,500 people, kitchens, a laundry, recreation rooms and a special ferry service to the mainland. Most immigrants remained at Ellis Island for a short time, while waiting for their papers to be approved and until their families' arrival on later ships. Some were detained in quarantine for health checks. The massive immigration during the early 20th century helped to establish America as a melting pot of many cultures, providing people from all over the world with a new beginning. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 118705US Shipping $60 + insurance.BIOGRAPHY:Paul Calle, Postage Stamp Designer, Is Dead at 82 By MARGALIT FOX The cause was melanoma, said his son Chris, who is also a stamp designer. A longtime Stamford resident, Mr. Calle (pronounced KAL-ee) designed more than 40 United States stamps, licked by generations of postwar Americans. He was best known for the 10-cent stamp, commissioned by NASA and issued in 1969, commemorating the Apollo 11 moon landing that year. His other stamps include ones honoring Gen. Douglas MacArthur (1971), Robert Frost (1974), the International Year of the Child (1979), Helen Keller and Anne Sullivan (1980), Frederic Remington (1981), Pearl S. Buck (1983), the Vietnam Veterans Memorial (1984) and folk-art carousel horses (1988 and again, with new artwork, in 1995). Mr. Calle's work has been exhibited at the National Gallery of Art in Washington, the National Cowboy and Western Heritage Museum in Oklahoma City and elsewhere. With Chris, he designed two 1994 stamps a 29-cent first-class stamp and a $9.95 express-mail stamp commemorating the moon landing's 25th anniversary. Father and son also collaborated on stamps for Sweden, the Marshall Islands, Micronesia and the United Nations. Paul Calle was born on the Lower East Side of Manhattan on March 3, 1928. He earned a bachelor's degree from Pratt Institute in Brooklyn and during the Korean War was an illustrator for the Army. Early in his career, Mr. Calle did cover artwork for science-fiction pulp magazines like Galaxy, Fantasy Fiction and Super Science Stories, as well as for general-interest publications like The Saturday Evening Post. In 1962, he was among the inaugural group of artists chosen for the NASA Art Program, a documentary record of the space program that has produced thousands of works to date. Mr. Calle's early art for the program includes a pair of 5-cent stamps, issued in 1967, depicting the Gemini casule and the astronaut Ed White making the first American spacewalk in 1965. On July 16, 1969, the day Apollo 11 was launched, Mr. Calle was the only artist allowed to observe the astronauts, Neil Armstrong, Michael Collins and Buzz Aldrin, as they readied themselves for the mission eating breakfast, donning their spacesuits and the like. He captured their preparations in a series of intimate pen-and-ink sketches later exhibited at the National Air and Space Museum. That morning, when the astronauts lifted off, one of the things they carried was the engraved printing plate of Mr. Calle's commemorative stamp. As the moon lacked a post office, a proof made from the plate was hand-canceled by the men aboard the spacecraft. Mr. Calle's wife, the former Olga Wyhowanec, whom he married in 1951, died in 2003. Besides his son Chris, he is survived by another son, Paul P., a veterinarian at the Bronx Zoo; a daughter, Claudia Calle Beal; and six grandchildren. Interviewed after the moon landing, Mr. Calle divulged the secret of his rigorous craft: "When you do a stamp," he said, "think big, but draw small."

ARTIST: Edward T Vebell (Illinois, 1921-2018)NAME: Fort SumterYEAR: 1980MEDIUM: gouache on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 20 x 21 inches / 50 x 53 cmBOARD SIZE: 26 x 27 inches / 66 x 68 cmSIGNATURE: lower rightNOTE: This painting is the original which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. Determined to defend slavery and states' rights as fundamental to its way of life against the threat of hostile legislation from a victorious Republican party, South Carolina seceded from the Union on December 20, 1860. Ten other southern states followed. Meeting in Montgomery, Alabama, in March of 1861, the newly seceded states declared their independence and drew up a Constitution. "Physically speaking," said President Lincoln in his Inaugural Address, "we cannot separate." South Carolina rejected this argument and, determined to repossess her own "territory," demanded the evacuation of federal forces on Sumter Island in Charleston Harbor. When Lincoln responded by sending an expedition to reinforce the Fort, General Beauregard, in command at Charleston, decided to rally southern support by precipitating war. At 4:30 on the morning of April 12, 1861, Confederate batteries fired the first guns of what was to be a four-year war. The Union commander, Major Anderson, responded as best he could, but in vain: the next morning the Fort was afire and Anderson lowered the flag. The next day the garrison marched out with colors flying and drums beating. Four years later to the day, General Anderson presided over the raising of Old Glory. "I thank God," he said, "that I have lived to see this day." And as he began to hoist the ragged and shell-torn flag, the wind caught it and shook its folds out above the Fort, and every soldier instinctively saluted.PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120441US Shipping $75 + insurance.BIOGRAPHY:Ed Vebell (1921-2018) is an American illustrator, veteran, and Olympic athlete who attended the Chicago Institute of Art before enlisting. While serving in the Army, he was a contributing artist for Stars & Stripes magazine, working side by side with Bill Mauldin. His second major appointment was as courtroom artist for the Nuremburg Trials; his haunting portrait of Hermann Gering can be viewed at the United States Holocaust Memorial Museum in Washington D.C. Over the decades following the war, Vebell designed 16 circulated postage stamps for the US Postal Service, and enjoyed frequent commissions from Reader's Digest, Sports Illustrated, and Time.

ARTIST: Edward T Vebell (Illinois, 1921-2018)NAME: Fulton's Clermont SteamboatYEAR: 1980MEDIUM: acrylic on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 20 x 21 inches / 50 x 53 cmBOARD SIZE: 26 x 27 inches / 66 x 68 cmSIGNATURE: lower rightNOTE: This painting is the original which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. It was the English who invented the first steam engine and the first steam railroad but it was an American, Robert Fulton, who, in 1807, formally launched the steamboat era. Fulton was not the inventor, however, of the steamboat: that distinction belongs to poor John Fitch, a Connecticut Yankee and a veteran of the Continental Army who, as early as 1787, built and launched a forty-five-foot steamboat. But, alas, nothing came of that brave experiment. Fitch could get no financing for his invention and in the end gave up in despair and fled to the wilds of Kentucky where he died. Ten years later, the New York lawyer and diplomat, Robert Livingston, anticipating the role that steamboats might play in a vast nation whose only effective transportation was by water, persuaded his young friend Robert Fulton, with whose artistic and inventive talents he was familiar, to try his hand at building a steamboat. Fulton boasted a natural talent for engineering. He eagerly embraced Livingston's proposal and by 1807 was ready to launch The Clermont, named after Livingston's hometown. On its maiden trip, the boat steamed up the Hudson to Albany and returned five days later, having averaged a speed of five miles an hour. Successful as it was, it brought no great wealth to either Livingston or Fulton, for in 1824, John Marshall's Court pronounced their monopoly unconstitutional as an infringement on congressional power to regulate "commerce concerning the several states."PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120443US Shipping $75 + insurance.BIOGRAPHY:Ed Vebell (1921-2018) is an American illustrator, veteran, and Olympic athlete who attended the Chicago Institute of Art before enlisting. While serving in the Army, he was a contributing artist for Stars & Stripes magazine, working side by side with Bill Mauldin. His second major appointment was as courtroom artist for the Nuremburg Trials; his haunting portrait of Hermann Gering can be viewed at the United States Holocaust Memorial Museum in Washington D.C. Over the decades following the war, Vebell designed 16 circulated postage stamps for the US Postal Service, and enjoyed frequent commissions from Reader's Digest, Sports Illustrated, and Time.

ARTIST: Edward T Vebell (Illinois, 1921 - 2018)NAME: Edison Invents LightYEAR: 1979MEDIUM: gouache on boardCONDITION: Excellent.SIGHT SIZE: 20 x 21 inches / 50 x 53 cmBOARD SIZE: 26 x 27 inches / 66 x 68 cmSIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 118691US Shipping $75 + insurance.BIOGRAPHY:Ed Vebell is an American illustrator, veteran, and Olympic athlete who attended the Chicago Institute of Art before enlisting. While serving in the Army, he was a contributing artist for Stars & Stripes magazine, working side by side with Bill Mauldin. His second major appointment was as courtroom artist for the Nuremburg Trials; his haunting portrait of Hermann Gering can be viewed at the United States Holocaust Memorial Museum in Washington D.C. Over the decades following the war, Vebell designed 16 circulated postage stamps for the US Postal Service, and enjoyed frequent commissions from Reader's Digest, Sports Illustrated, and Time.

ARTIST: J Craig Thorpe (Washington, born 1948)NAME: Train - Washington LocomotiveYEAR: 1994MEDIUM: oil on heavy paperCONDITION: Very good. Damage to lower edge of paper (painting by intself is not damaged). No visible inpaint under UV light.SIGHT SIZE: 14 x 12 inches / 35 x 30 cmPAPER SIZE: 18 x 15 inches / 45 x 38 cmSIGNATURE: lower leftNOTE: This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Washington Commemorative Cover postmarked December 20, 1994. When confronted with a mountain range, the visionaries who built America's railroads had three choices: go around it, over it or through it. Those were the options available to John F. Stevens, engineer for the Great Northern Railway, when he found the Cascade Range between him and his proposed route to Puget Sound. Stevens had already brought the Great Northern through the Rocky Mountains. That experience helped him recognize the virtues of the pass that would eventually bear his name. Stevens Pass was ideal in that it allowed for several different routes. In fact, over the years, the Great Northern has had three routes at the Pass, one over it and two through it. The first ran across the summit on a series of eight arduous and time-consuming switchbacks. Not long after the switchback line was completed, work began on the original Cascade Tunnel. Nine years later, on December 20, 1900, the tunnel was opened and the switchbacks were closed. Although the new route was a vast improvement, it was still beset with severe curves, miles of snow sheds and four-percent grades. So in 1925, the Great Northern began construction on another tunnel at a more favorable site. Opened on January 29, 1929, the second Cascade Tunnel runs 7.8 miles, making it the longest railroad tunnel in the United States. Great Northern's 2-8-0 freight engine No. 1106, featured on this artwork, was built in 1901 by the Rogers Locomotive Works. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120064US Shipping $49 + insurance.BIOGRAPHY:J. Craig Thorpe is a nationally recognized artist specializing in conceptual renderings and landscape paintings. Says Robert Eaton, Mayor of Leavenworth, WA, “Craig understands the history, needs, and mission of our community. Our investment in his talents has more than paid for itself. Craig's interest in art dates from his formative years in Pittsburgh, PA. The landscapes of the area, with its undulating topography, rivers, industrial plants and railroads captured his imagination. The imagery of those experiences shaped the foundation of a career.Thorpe studied at the Art Institute of Pittsburgh, and graduated from Carnegie-Mellon University with a BFA in Industrial Design. Following a short stint in the US Army Transportation Corps, he worked for architects in Virginia. After graduate school in New England, where he earned a Master of Divinity from Gordon-Conwell Theological Seminary, Thorpe moved to Seattle, WA and served as a Presbyterian pastor.In 1985 he chose to leave parish work to begin free-lance architectural and transportation illustration. When Amtrak featured his painting of the new Olympia, WA station on its 1993 corporate calendar, Thorpe's rail art began to be recognized nationally. He continues to produce commissioned works for Amtrak including the commemorative centennial paintings of Washington D.C. Union Station (2008) and Glacier National Park (2010). His most recent work is a collection of vignettes celebrating Amtrak's 40th anniversary in 2011.Craig is widely known for these and commissions by other rail clients such as the White Pass & Yukon Route in Alaska. Says Michael Brandt, the railway's Vice President, Craig has embraced the WP&YR brand and created iconic legacy artworks for us. They reflect his relationship with the company, its people, history and future. Other noted Alaskan clients include Holland America Line and Alaska Marine Lines. The grandeur and scale of Alaska and indeed all the west itself have expanded his literal and figurative horizons. A new series of smaller Northwest landscapes is growing in popularity.Thorpe is foremost a landscape painter and even his industrial commissions set the subjects in their unique settings. Says the artist, "The haste, cynicism and expediency of our age has blurred an ability to see beauty. These paintings help people refocus." He combines a technical accuracy with a painterly style evoking an emotional response from the viewer: "That painting makes me want to be right there!" He partners with clients to create art which honors tradition, celebrates the present and creates a legacy. While working in a variety of media, most of Thorpe's published works are oil-on-canvas.His paintings have appeared on calendars, posters, cards, menus, timetables and a host of other items.J. Craig Thorpe's work has been published in various papers and journals such as the Arizona Republic, Denver Post, and USA Today, National Parks Magazine, Audubon and books such as Alfred Runte's Allies of the Earth: Railroads and the Soul of Preservation and Trains of Discovery: Railroads and the Legacy of Our National Parks. Thorpe and his wife Cathy, a counselor in private practice, live in Bellevue, Washington and have three grown children, each an artist in his own way.

ARTIST: Norman Carton (Pennsylvania, New York, France, 1908 - 1980)NAME: Abstract CompositionMEDIUM: oil on canvasCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 9 x 9 inches / 22 x 22 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower left and on versoCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120394US Shipping $29 + insurance.BIOGRAPHY:Norman Carton was a painter's painter who devoted life to education and lecturing in the Arts as well as a large exhibition history. He was in more than 70 group exhibitions and had more than 20 one-man exhibitions.He was awarded numerous awards, prizes and fellowships. In the 1930s he was part of the WPA creating murals, in the 1940s, he founded a fabric design firm and Production Co. which was featured in Interiors magazine, Vogue, Harper's Bazaar, and Women's Wear Daily. These were hand-printed fabrics and his clients were Nina Ricci, Hattie Carnegie, Lord & Taylor, and others. In 1962 Norman Carton opened his own Gallery, the Dewey Gallery, NY City.Carton's work is represented in over 200 private collections throughout the world and some of the following museums: The Whitney Museum of American Art, Albright-Knox Gallery, Norfolk Museum of Art, Chrysler Art Museum, Jewish Museum, Paris, Museum of Modern Art, Paris, Museum of Art, St. Denis, France.

ARTIST: Norman Carton (Pennsylvania, New York, France, 1908 - 1980)NAME: Abstract CompositionMEDIUM: oil on canvasCONDITION: Restretched. Very good. No visible inpaint under UV light.SIGHT SIZE: 8 x 8 inches / 20 x 20 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower right and on versoNAME VARIANTS: NOCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120477US Shipping $29 + insurance.BIOGRAPHY:Norman Carton was a painter's painter who devoted life to education and lecturing in the Arts as well as a large exhibition history. He was in more than 70 group exhibitions and had more than 20 one-man exhibitions.He was awarded numerous awards, prizes and fellowships. In the 1930s he was part of the WPA creating murals, in the 1940s, he founded a fabric design firm and Production Co. which was featured in Interiors magazine, Vogue, Harper's Bazaar, and Women's Wear Daily. These were hand-printed fabrics and his clients were Nina Ricci, Hattie Carnegie, Lord & Taylor, and others. In 1962 Norman Carton opened his own Gallery, the Dewey Gallery, NY City.Carton's work is represented in over 200 private collections throughout the world and some of the following museums: The Whitney Museum of American Art, Albright-Knox Gallery, Norfolk Museum of Art, Chrysler Art Museum, Jewish Museum, Paris, Museum of Modern Art, Paris, Museum of Art, St. Denis, France.

ARTIST: Norman Carton (Pennsylvania, New York, France, 1908 - 1980)NAME: Abstract CompositionMEDIUM: oil on canvasCONDITION: Restretched. Paint loss along left edge. Minor craquelure. No visible inpaint under UV light.SIGHT SIZE: 5 x 11 inches / 12 x 27 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower right and on versoNAME VARIANTS: NOCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120481US Shipping $42 + insurance.BIOGRAPHY:Norman Carton was a painter's painter who devoted life to education and lecturing in the Arts as well as a large exhibition history. He was in more than 70 group exhibitions and had more than 20 one-man exhibitions.He was awarded numerous awards, prizes and fellowships. In the 1930s he was part of the WPA creating murals, in the 1940s, he founded a fabric design firm and Production Co. which was featured in Interiors magazine, Vogue, Harper's Bazaar, and Women's Wear Daily. These were hand-printed fabrics and his clients were Nina Ricci, Hattie Carnegie, Lord & Taylor, and others. In 1962 Norman Carton opened his own Gallery, the Dewey Gallery, NY City.Carton's work is represented in over 200 private collections throughout the world and some of the following museums: The Whitney Museum of American Art, Albright-Knox Gallery, Norfolk Museum of Art, Chrysler Art Museum, Jewish Museum, Paris, Museum of Modern Art, Paris, Museum of Art, St. Denis, France.

ARTIST: Norman Carton (Pennsylvania, New York, France, 1908 - 1980)NAME: Abstract CompositionMEDIUM: oil on canvasCONDITION: Restretched. Very good. No visible inpaint under UV light.SIGHT SIZE: 9 1/2 x 6 1/2 inches / 25 x 17 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower right and on versoNAME VARIANTS: NOCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120485US Shipping $42 + insurance.BIOGRAPHY:Norman Carton was a painter's painter who devoted life to education and lecturing in the Arts as well as a large exhibition history. He was in more than 70 group exhibitions and had more than 20 one-man exhibitions.He was awarded numerous awards, prizes and fellowships. In the 1930s he was part of the WPA creating murals, in the 1940s, he founded a fabric design firm and Production Co. which was featured in Interiors magazine, Vogue, Harper's Bazaar, and Women's Wear Daily. These were hand-printed fabrics and his clients were Nina Ricci, Hattie Carnegie, Lord & Taylor, and others. In 1962 Norman Carton opened his own Gallery, the Dewey Gallery, NY City.Carton's work is represented in over 200 private collections throughout the world and some of the following museums: The Whitney Museum of American Art, Albright-Knox Gallery, Norfolk Museum of Art, Chrysler Art Museum, Jewish Museum, Paris, Museum of Modern Art, Paris, Museum of Art, St. Denis, France.

ARTIST: Otto Antoine (Germany, 1865 - 1951)NAME: Reihn River Landscape with Laundring WomanYEAR: 1935MEDIUM: oil on boardCONDITION: Missing few flakes of paint. No visible inpaint under UV light.SIGHT SIZE: 9 1/2 x 12 1/2 inches / 25 x 33 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower rightNOTE: has artist's stamp on versoSKU#: 119807US Shipping $42 + insurance.BIOGRAPHY:After attending high school, he was sent for an apprenticeship to a master painter. At the age of 18, he chose the career of mail clerk at the post office of Lutzel. After hours, he drew and painted motifs of his hometown of Koblenz, applying his self-taught skills and knowledge. After the "assistant's exam" in 1887 and voluntary military service for the term of one year, he was transferred to a pioneer battalion for a short time in Hamburg. Antoine went to Berlin in 1891 and studied at the Berlin Academy of Arts (Akademie der Kunste) under Franz Skarbina. He became a member of the Association of Berlin Artists and participated regularly in the major art exhibitions in Berlin. In 1942, he was bombed-out in Berlin and spent a short time in Silesia.Immediately after moving from Koblenz to Berlin in 1891, Antoine contacted local artists in Berlin. He studied part-time at the Academy of Fine Arts (Hochschule fur Bildende Kunste) and attended courses in landscape and nude painting. In Professor Franz Skarbina (1849-1910), he found an artist who recognized his talent and encouraged and taught him what he, the self-taught artist, had yet to learn. Initially, Antoine mainly painted landscapes and mostly used watercolors. After his training under Skarbina, he preferred oil paint for larger images, because it was more expressive, and mostly painted city-themed motifs. He created many oil, pastel, and watercolor paintings as well as etchings of motifs of Berlin. Horse-drawn carriages on rain-soaked roads, the hustle and bustle on Leipziger Strasse or passers-by at the Brandenburg Gate - these are impressions the artist captured in their randomness and instantaneousness. The Cathedral, The Castle and Bridge (Kaiser-Friedrich-Bridge), Unter den Linden, Brandenburg Gate, Leipziger Platz, with the Wertheim Department Store, Potsdamer Platz, Alexanderplatz with Berolina and Police Headquarters, Reichstag, Tiergarten, Kurfurstendamm, Kaiser-Wilhelm Memorial Church and Tauentzienstrasse, as well as the City Hall and Altes Museum are naturally included in the list of his paintings of Berlin. It is the representative Berlin; the Berlin of monumental buildings. All paintings are atmospheric and were completed using a virtuous impressionistic technique. The hues of the era and its transformations are easily perceptible by looking at the means of transportation, hackney coaches, the electrical and open top buses as well as the clothing of the pedestrians.Otto Antoine was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association's board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.Fortunately, a large amount of his work had been preserved. However, a complete overview of the locations of Antoine's works does not currently exist. At best, the following information may be a reference point. A large number of his works is currently kept by the family and other private collectors.

ARTIST: Otto Antoine (Germany, 1865 - 1951)NAME: Mountain Village LandscapeMEDIUM: oil on canvas. Canvas applied to board.CONDITION: Minor inpainting in upper left corner.SIGHT SIZE: 12 x 9 inches / 30 x 22 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftSKU#: 119816US Shipping $42 + insurance.BIOGRAPHY:After attending high school, he was sent for an apprenticeship to a master painter. At the age of 18, he chose the career of mail clerk at the post office of Lutzel. After hours, he drew and painted motifs of his hometown of Koblenz, applying his self-taught skills and knowledge. After the "assistant's exam" in 1887 and voluntary military service for the term of one year, he was transferred to a pioneer battalion for a short time in Hamburg. Antoine went to Berlin in 1891 and studied at the Berlin Academy of Arts (Akademie der Kunste) under Franz Skarbina. He became a member of the Association of Berlin Artists and participated regularly in the major art exhibitions in Berlin. In 1942, he was bombed-out in Berlin and spent a short time in Silesia.Immediately after moving from Koblenz to Berlin in 1891, Antoine contacted local artists in Berlin. He studied part-time at the Academy of Fine Arts (Hochschule fur Bildende Kunste) and attended courses in landscape and nude painting. In Professor Franz Skarbina (1849-1910), he found an artist who recognized his talent and encouraged and taught him what he, the self-taught artist, had yet to learn. Initially, Antoine mainly painted landscapes and mostly used watercolors. After his training under Skarbina, he preferred oil paint for larger images, because it was more expressive, and mostly painted city-themed motifs. He created many oil, pastel, and watercolor paintings as well as etchings of motifs of Berlin. Horse-drawn carriages on rain-soaked roads, the hustle and bustle on Leipziger Strasse or passers-by at the Brandenburg Gate - these are impressions the artist captured in their randomness and instantaneousness. The Cathedral, The Castle and Bridge (Kaiser-Friedrich-Bridge), Unter den Linden, Brandenburg Gate, Leipziger Platz, with the Wertheim Department Store, Potsdamer Platz, Alexanderplatz with Berolina and Police Headquarters, Reichstag, Tiergarten, Kurfurstendamm, Kaiser-Wilhelm Memorial Church and Tauentzienstrasse, as well as the City Hall and Altes Museum are naturally included in the list of his paintings of Berlin. It is the representative Berlin; the Berlin of monumental buildings. All paintings are atmospheric and were completed using a virtuous impressionistic technique. The hues of the era and its transformations are easily perceptible by looking at the means of transportation, hackney coaches, the electrical and open top buses as well as the clothing of the pedestrians.Otto Antoine was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association's board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.Fortunately, a large amount of his work had been preserved. However, a complete overview of the locations of Antoine's works does not currently exist. At best, the following information may be a reference point. A large number of his works is currently kept by the family and other private collectors.

ARTIST: Otto Antoine (Germany, 1865 - 1951)NAME: Landscape with FigureYEAR: 1926MEDIUM: oil on heavy paperCONDITION: Minor damages to edges and corners. Few scattered inpainted areas.SIGHT SIZE: 14 1/2 x 11 inches / 38 x 27 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftSKU#: 119817US Shipping $49 + insurance.BIOGRAPHY:After attending high school, he was sent for an apprenticeship to a master painter. At the age of 18, he chose the career of mail clerk at the post office of Lutzel. After hours, he drew and painted motifs of his hometown of Koblenz, applying his self-taught skills and knowledge. After the "assistant's exam" in 1887 and voluntary military service for the term of one year, he was transferred to a pioneer battalion for a short time in Hamburg. Antoine went to Berlin in 1891 and studied at the Berlin Academy of Arts (Akademie der Kunste) under Franz Skarbina. He became a member of the Association of Berlin Artists and participated regularly in the major art exhibitions in Berlin. In 1942, he was bombed-out in Berlin and spent a short time in Silesia.Immediately after moving from Koblenz to Berlin in 1891, Antoine contacted local artists in Berlin. He studied part-time at the Academy of Fine Arts (Hochschule fur Bildende Kunste) and attended courses in landscape and nude painting. In Professor Franz Skarbina (1849-1910), he found an artist who recognized his talent and encouraged and taught him what he, the self-taught artist, had yet to learn. Initially, Antoine mainly painted landscapes and mostly used watercolors. After his training under Skarbina, he preferred oil paint for larger images, because it was more expressive, and mostly painted city-themed motifs. He created many oil, pastel, and watercolor paintings as well as etchings of motifs of Berlin. Horse-drawn carriages on rain-soaked roads, the hustle and bustle on Leipziger Strasse or passers-by at the Brandenburg Gate - these are impressions the artist captured in their randomness and instantaneousness. The Cathedral, The Castle and Bridge (Kaiser-Friedrich-Bridge), Unter den Linden, Brandenburg Gate, Leipziger Platz, with the Wertheim Department Store, Potsdamer Platz, Alexanderplatz with Berolina and Police Headquarters, Reichstag, Tiergarten, Kurfurstendamm, Kaiser-Wilhelm Memorial Church and Tauentzienstrasse, as well as the City Hall and Altes Museum are naturally included in the list of his paintings of Berlin. It is the representative Berlin; the Berlin of monumental buildings. All paintings are atmospheric and were completed using a virtuous impressionistic technique. The hues of the era and its transformations are easily perceptible by looking at the means of transportation, hackney coaches, the electrical and open top buses as well as the clothing of the pedestrians.Otto Antoine was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association's board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.Fortunately, a large amount of his work had been preserved. However, a complete overview of the locations of Antoine's works does not currently exist. At best, the following information may be a reference point. A large number of his works is currently kept by the family and other private collectors.

ARTIST: Otto Antoine (Germany, 1865 - 1951)NAME: River Landscape with CottagesMEDIUM: oil on canvasCONDITION: Canvas is unmounted. Two crtease lines in lower right corner. Few small paint losses. No visible inpaint under UV light.SIGHT SIZE: 12 x 9 inches / 30 x 22 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftSKU#: 119820US Shipping $42 + insurance.BIOGRAPHY:After attending high school, he was sent for an apprenticeship to a master painter. At the age of 18, he chose the career of mail clerk at the post office of Lutzel. After hours, he drew and painted motifs of his hometown of Koblenz, applying his self-taught skills and knowledge. After the "assistant's exam" in 1887 and voluntary military service for the term of one year, he was transferred to a pioneer battalion for a short time in Hamburg. Antoine went to Berlin in 1891 and studied at the Berlin Academy of Arts (Akademie der Kunste) under Franz Skarbina. He became a member of the Association of Berlin Artists and participated regularly in the major art exhibitions in Berlin. In 1942, he was bombed-out in Berlin and spent a short time in Silesia.Immediately after moving from Koblenz to Berlin in 1891, Antoine contacted local artists in Berlin. He studied part-time at the Academy of Fine Arts (Hochschule fur Bildende Kunste) and attended courses in landscape and nude painting. In Professor Franz Skarbina (1849-1910), he found an artist who recognized his talent and encouraged and taught him what he, the self-taught artist, had yet to learn. Initially, Antoine mainly painted landscapes and mostly used watercolors. After his training under Skarbina, he preferred oil paint for larger images, because it was more expressive, and mostly painted city-themed motifs. He created many oil, pastel, and watercolor paintings as well as etchings of motifs of Berlin. Horse-drawn carriages on rain-soaked roads, the hustle and bustle on Leipziger Strasse or passers-by at the Brandenburg Gate - these are impressions the artist captured in their randomness and instantaneousness. The Cathedral, The Castle and Bridge (Kaiser-Friedrich-Bridge), Unter den Linden, Brandenburg Gate, Leipziger Platz, with the Wertheim Department Store, Potsdamer Platz, Alexanderplatz with Berolina and Police Headquarters, Reichstag, Tiergarten, Kurfurstendamm, Kaiser-Wilhelm Memorial Church and Tauentzienstrasse, as well as the City Hall and Altes Museum are naturally included in the list of his paintings of Berlin. It is the representative Berlin; the Berlin of monumental buildings. All paintings are atmospheric and were completed using a virtuous impressionistic technique. The hues of the era and its transformations are easily perceptible by looking at the means of transportation, hackney coaches, the electrical and open top buses as well as the clothing of the pedestrians.Otto Antoine was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association's board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.Fortunately, a large amount of his work had been preserved. However, a complete overview of the locations of Antoine's works does not currently exist. At best, the following information may be a reference point. A large number of his works is currently kept by the family and other private collectors.

ARTIST: Harald Kurt Knut Ekwall (Sweden, Germany, 1873 - ?)NAME: Pastoral LandscapeMEDIUM: oil on canvasCONDITION: Two small tears (1 1/2" longest). Some craquelure. No visible inpaint under UV light. Minor damages to frame.SIGHT SIZE: 28 x 46 inches / 71 x 116 cmFRAME SIZE: 35 x 53 inches / 88 x 134 cmSIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120869US Shipping $319 + insurance.BIOGRAPHY:Harald Knut-Ekwall was born on December 14, 1873 in Leipzig, Sachsen, Germany. He is the son of successful Swedish artist Knut Ekwall (1843-1912) and nephew of artist Emma Ekwall (1838-1930). Harald's birth came during a brief period of time when his father was studying art in Leipzig. He has several siblings who were also artists, many of whom have artwork in the marketplace that often is confused with Harald's and/or his father's. Harald Ekwall's father had studied at the Academy of Arts in Stockholm, and ultimately gained much acclaim and recognition for his skill as a xylographer (woodcut designer) and draftsman. Many of his father's works were reproduced as engravings, and some of his paintings are today considered national treasures of Sweden.Harald seems to have followed in his father's footsteps, painting in oils throughout his lifetime. In 1900 the 27 year old artist departed the European continent on a ship named Hermonthis, destined for Valparaiso, a cultural city center along the coast of Chile. According to public records, it appears that the artist remained in Chile for over a decade, eventually gaining Chilean citizenship. In 1912, he returned to Sweden, where he represented Chile in the 1912 Olympic Games held in Stockholm. He competed in Men's Shooting events including Free Pistol, Dueling Pistol, and Military Rifle. Harald Knut-Ekwall is recognized primarily as a maritime painter, although he is known to have branched out into other genres as well, including landscape and horses and riders in Western Style. It appears that many of his artworks were produced during his years in Chile, though no information has been gathered as to any specific artistic studies he may have undertaken during this time period.His works are usually signed "Harald Knut-Ekwall", while his father's works are typically signed "Knut Ekwall". Harald had at least four siblings, most of which were practicing artists. They often sign their paintings with their first initial followed by "Knut-Ekwall", possibly as a method to attract buyers who have knowledge of their famous father. One of the siblings signed their work "KE", with a backwards K and an E sharing a central vertical spine.There research into this artist is ongoing, and new facts and examples of his work are emerging over time. His legacy, though primarily that of a maritime painter, extends to an increasing number of other types of scenes as well.Unfortunately, little is known about the artist's fate after 1912. The date and location of his death remain unknown.

ARTIST: Elizabeth Galbraith McIntyre Jewell (Washington, Massachusetts, 1874 - 1956)NAME: Rocky SeascapeMEDIUM: oil on canvas. Canvas applied to board.CONDITION: Few minor paint losses/scratches. Some foxing. No visible inpaint under UV light.SIGHT SIZE: 11 x 14 inches / 27 x 35 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower right and on versoNOTE: has artist's estate stamp on versoNAME VARIANTS: Elizabeth Galbraith MacIntyreCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120132US Shipping $42 + insurance.BIOGRAPHY:Elizabeth Galbraith Jewell was born in Lawrence, Massachusetts, in 1874. After graduating from Boston University in 1898, she became a teacher of Classics at Lawrence High School, where she met and married her husband Ernest C. Jewell. She began the serious pursuit of art after her children matured, and studied with some of the best-known painters of her time, including: Louis Morton, Charles Woodbury, Philip Leslie Hale, Henry W. Rice, Susan Ricker Knox, and George Loftus Noyes. She was very fond of color and developed her mature style under the direction of George Noyes, the noted Boston impressionist, who gave her lessons during the summers in Gloucester. She painted in Gloucester and Ogunquit, was a member of the Merrimack Valley Artist’s Association, and exhibited at Addison Galleries in Andover, Mass.

Wilhelm Busch 1832 Wiedensahl bei Hannover - 1908 Mechtshausen bei Seesen/Harz Bauer aus Wiedensahl. 1870/80. Öl auf Karton. Vgl. Gmelin 40. Am rechten Rand unten signiert. Verso mit altem Zollstempel. 29 x 19,5 cm (11,4 x 7,6 in). Wir danken Frau Ruth Brunngraber-Malottke, die das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Privatsammlung Rheinland-Pfalz (ca. 1980 aus Familienbesitz erhalten). Die Porträtstudien Wilhelm Buschs sind aufgrund der Tatsache so faszinierend, dass sie zwischen Individuum und Typus beständig changieren. Besonders in den Männerbildnissen, deren Inspiration sicherlich auf die von Busch so bewunderten niederländischen barocken Meister zurückzuführen ist, zeigt sich seine besondere Fähigkeit auf diesem Gebiet. In einer in ihrer Freiheit an Frans Hals gemahnenden Malweise, die sich am reichen, pastosen Farbmaterial erfreut und eine akademische Feinmalerei überschreitet, gelingt es Busch, eine genaue Charakteristik des Dargestellten zu schildern, ohne sich in akribisch-realistischer Detailschilderung zu verlieren. Seine Motive sucht er bei den einfachen Leuten: Der pfeifestopfende Alte, der Bauer, der Bettler, der Alte mit dem zerbrochenen Krug sind alles Bildnisse einer gewöhnlichen Schicht, wie sie schon bspw. Adriaen Brouwer auf die Leinwand gebannt hatte. Das bei den Niederländern oft prägende komische Element meidet Busch jedoch zugunsten eines mitfühlenden und menschlichen, das auch das für gewöhnlich eher Bildunwürdige zur Malerei erhebt. Dazu kommt die reduzierte Palette, die nicht in den buntesten Farben schwelgt, sondern sich in abgedämpften, abgetönten Farben mit Bescheidenheit und Demut der harschen Realität nähert. [KT] Aufrufzeit: 11.06.2022 - ca. 15.54 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Busch 1832 Wiedensahl bei Hannover - 1908 Mechtshausen bei Seesen/Harz Bauer aus Wiedensahl. 1870/80. Oil on board. Cf. Gmelin 40. Signed in bottom of right margin. With an old custom's stamp on the reverse. 29 x 19.5 cm (11.4 x 7.6 in). We are grateful to Mrs. Ruth Brunngraber-Malottke, who inspected the original work, for her kind support in cataloging this lot. PROVENANCE: Private collection Rhineland-Palatinate (obtained from the family around 1980). Called up: June 11, 2022 - ca. 15.54 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Carl Spitzweg 1808 München - 1885 München Der Alchimist (Chemicus). Ende 1840er Jahre. Öl auf Papier, kaschiert auf Karton. 14,8 x 19,5 cm (5,8 x 7,6 in). Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. Das Werk wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Privatsammlung Österreich. Im Werk Spitzwegs kann man sich immer wieder von neuen Figuren überraschen und verzaubern lassen, die Sonderlingsstatus beanspruchen oder sich ganz ihrer eigenen Passion verschrieben haben. Spitzweg liefert Analysen menschlichen Verhaltens, die dank seiner feingeistigen Beobachtungsgabe und als facettenreicher, tiefsinniger Kommentar zur Conditio humana weit über die Genremalerei hinausführen, für die seine Werke oftmals gehalten werden. Eine besondere Gruppe seiner Figuren ist dabei die der Naturforscher, so gibt es den Mineralogen, den Schmetterlingsforscher, den Botaniker, den Kaktusfreund, den Astronomen und auch den Chemiker. Spitzweg selbst ist von diesem beobachtenden, neugierigen und forschenden Geist durchdrungen. Zurück reicht dieses Interesse sicherlich auch auf seine ursprüngliche berufliche Ausrichtung. Er schlägt zunächst die Laufbahn des Apothekers mit einer Ausbildung an der königlichen Hofapotheke ein, begleitet von einem Studium, das mit der Zeit verschiedene naturwissenschaftliche Fächer miteinschließt. Botanik, Zoologie, Chemie und Physik markieren sein Curriculum, das er 1832 mit Auszeichnung abschließt. Genaue Beobachtung und Analyse bedingen auch sein künstlerisches Schaffen. Hier beobachten wir den Chemiker, wohl ein Laie oder Dilettant im Hausmantel in seiner Kellerstube, wartend auf das Resultat seines Versuchsaufbaus. Die Szene ist dabei aufs Wesentlichste reduziert. Die malerische Ausführung konzentriert sich auf den interessierten Blick des Chemikers auf seine Destillierblase, die Spitzweg in meisterlicher Manier transparent und mit der Spiegelung der Fenster wiedergibt. Der weitere Raum rückt in seiner Unschärfe aus dem erzählerischen Fokus. Eindeutig fasziniert ist Spitzweg von dem Instrument der Destillierblase, die in einer weiteren Version des Motivs (Staatsgalerie Stuttgart) an einen Destillierofen angeschlossen ist. Spitzweg zeigt mit diesen altmodisch erscheinenden Instrumenten nicht die moderne Chemie, sondern verweist eher auf ihre unwissenschaftliche Vorgängerin, die Alchimie, deren oberstem Ziel – die Suche nach dem Stein der Weisen – dennoch die Erfindung solcher Werkzeuge zuzuschreiben ist. Von dem Chemikus oder Alchimisten existieren weitere Versionen in unterschiedlicher Ausführung und Anordnung, wobei die Wiederholung seiner Motive für Spitzweg gleichermaßen wie ein Experiment oder eine Versuchsanordnung erscheint. Sein Interesse für diese Disziplin entstammt sicherlich auch seiner Studienzeit, zudem war die Chemie im 19. Jahrhundert zu einer der wichtigsten Wissenschaften aufgestiegen. Vor allem die Synthetisierung neuer Farbstoffe, die in Industrie und Malerei die Paletten bereichern, dürfte Spitzweg nicht entgangen sein. Eine Kenntnis über den chemischen Ursprung der Farben wie bspw. seines geliebten Coelinblau, einer chemischen Reaktion durch Erhitzen des Minerals Kobalt, darf sicherlich angenommen werden. Berührend ist immer der Grad an Dilettantismus, der Spitzwegs Forscher antreibt, haben sie sich doch alle ihrer außerprofessionellen Leidenschaft verschrieben. Dies gilt auch für Spitzweg, den malerischen Autodidakten, dessen facettenreiches Œuvre ihn als unglaublich vielseitig interessierten Menschen, als Künstler und Forschenden zwischen Wissenschaft, Kunst, Musik, Theater, Literatur und Natur auszeichnet, der die Welt mit neugierig geweiteten und meist amüsierten Augen betrachtet. [KT] Aufrufzeit: 11.06.2022 - ca. 15.01 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Der Alchimist (Chemicus). Ende 1840s. Oil on paper, laminated on board. 14.8 x 19.5 cm (5.8 x 7.6 in). We are grateful to Mr Detlef Rosenberger, who inspected the original work, for his kind support in cataloging this lot. The work will be included into the forthcoming catalog raisonné. PROVENANCE: Private collection Austria. Called up: June 11, 2022 - ca. 15.01 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Carl Spitzweg 1808 München - 1885 München Die Stadtwache. Um 1850/55. Öl auf Holz. Wichmann 124. Rechts unten mit dem verwischten Nachlassstempel (Lugt 2307). Verso mit teilw. fragmentierten (Galerie-)Etiketten, rautenförmigem Etikett und Stempel des Malereibedarfs Fritz Schachinger, München. 40,5 x 31 cm (15,9 x 12,2 in). Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. Das Werk wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatbesitz. Privatsammlung Baden-Württemberg. AUSSTELLUNG: Spitzweg-Ausstellung, Moderne Galerie Thannhauser, München, September 1916, Nr. 1 (mit Abb. S. 8, verso mit dem Galerieetikett, Nr. 4504). Sonderausstellung Carl Spitzweg, Hugo Helbing, Berlin, 20.2.-20.3.1927, Nr. 5 ('Torbogen mit Wachsoldaten'). LITERATUR: Günther Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 211, Nr. 739 (mit Abb.). Auf seinen zahlreichen Reisen von München aus in die Dörfer des Umlands, in größere Städte Bayerns und Tirols sowie seinen Aufenthalten in Venedig, Wien und Prag füllt Spitzweg seine Skizzenbücher mit zahlreichen Architekturansichten. Dabei versucht er stets, den charakteristischen Stil der jeweiligen Stadt einzufangen, wie er zum Beispiel begeistert aus Nürnberg schreibt: „Die zackigen Häuser, und Zinnen, die alten Thürme und Brücken sind reizend […] hier ist alles gotisch, die Fenster, Häuser, Kirchen, Thürme, sogar meine zwei Hausfräuleins, denn ich wohne privatier, sind voll Erker, Zinnen, Spitzbögen, Arabesken und Schnörkeln.“ (zit. nach: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke, Stuttgart 2002, S. 26). Der in den Sommermonaten dauerhaft auf Reisen umherschweifende Spitzweg führt zeichnerisch Buch über seine Entdeckungen und zeichnet im süddeutschen und Tiroler-Raum in Memmingen, Bad Tölz, Augsburg, Innsbruck und Bozen. Oftmals positioniert er sich dabei auf dem Marktplatz, dem Zentrum der Städtchen vor Kirche oder Rathaus, auf dem die Bewohner zusammentreffen. Das Gewirr der Fassaden, Giebel, Treppen und Fenster einer über Jahrhunderte einigermaßen willkürlich und ungeplant zusammengewachsenen Architektur scheint ihn dabei künstlerisch besonders zu interessieren. In den Architekturen seiner Werke verschmelzen ebenso die verschiedensten Stile und Epochen, mittelalterliche niedrige Häuschen, aus denen Schornsteine, Dachgauben und Torbogen wachsen, ducken sich neben wuchtigen barocken Türmen und geschwungenen Giebeln. Hieraus ergeben sich helle und dunkle Winkel, Schattenwürfe und hell erleuchtete Partien, die den Gebäuden ihre Lebendigkeit verleihen. Ein wiederkehrender Anblick ist der große Torturm mit Uhr, darunter Reste einer charakteristischen süddeutschen Lüftlmalerei, die vermutlich den heiligen Schutzpatron der Stadt zeigt. Wie auf einer Bühne arrangiert er in dieser Szenerie die Figuren. Auf ihrem erhöhten Posten vor dem Schildhaus beobachtet ein Wachtposten die Straße darunter und den Eingang zur Stadt. Im Schatten der kleinen Bäumchen haben es sich zwei weitere Wachtposten gemütlich gemacht. Am Turm wehen kleine Fahnen, die die Herrschaftszugehörigkeit des Städtchens markieren, wohingegen die Wachtposten mittlerweile keine Kämpfe mehr als die gegen die heißen Strahlen der Mittagssonne und die kaum vergehende Zeit auszutragen haben. Der beinahe wolkenlose klare blaue Himmel, in dem Spitzweg die von ihm besonders geschätzte Farbe so intensiv und flächig wie selten einsetzt, betont die Friedlichkeit und Trägheit der Szene und verleiht ihr eine fast schon italianisierende Atmosphäre. [KT] Aufrufzeit: 11.06.2022 - ca. 15.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Die Stadtwache. Um 1850/55. Oil on panel. Wichmann 124. Lower right with a wiped estate stamp (Lugt 2307). Verso with partly fragmentarily preserved (gallery) labels, rhomb-shaped labels and a stamp of the art supplies store Fritz Schachinger, Munich. 40.5 x 31 cm (15.9 x 12.2 in). We are grateful to Mr Detlef Rosenberger, who inspected the original artwork, for his kind support in cataloging this lot. The work will be included into the forthcoming catalog raisonné. PROVENANCE: Artist's estate. Private collection. Private collection Baden-Württemberg. EXHIBITION: Spitzweg exhibition, Moderne Galerie Thannhauser, Munich, September 1916, no. 1 (with illu. on p. 8, with the gallery label on the reverse, no. 4504). Special exhibition Carl Spitzweg, Hugo Helbing, Berlin, February 20 - March 20, 1927, no. 5 ('Torbogen mit Wachsoldaten'). LITERATURE: Günther Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 211, no. 739 (with illu.). Called up: June 11, 2022 - ca. 15.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Carl Spitzweg 1808 München - 1885 München Der Mondscheingeiger. Ende 1840er Jahre. Öl auf Leinwand. Roennefahrt 1077. Verso auf der Leinwand dreifach mit dem Nachlassstempel (Lugt 2307). 53 x 32 cm (20,8 x 12,5 in). Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. Das Werk wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Aus dem Nachlass des Künstlers. Neue Galerie Schönemann & Lampl, München (1927). Hermann Abels, Köln (1928). Sammlung Charles Hosmer Morse, München/USA (wohl vom Vorgenannten erworben, seither in Familienbesitz). AUSSTELLUNG: Spitzweg-Ausstellung, unter Mitarbeit von Hermann Uhde-Bernays, Neue Galerie Schönemann & Lampl, München, Mai-Juni 1927, Nr. 24 (hier betitelt: 'Ständchen, Geiger auf der Leiter'). Meisterwerke deutscher Kunst, Kunstsalon Hermann Abels, Köln, 1930 (m. Abb.). LITERATUR: Der Cicerone, Heft 20, 1928, S. 410 (m. Abb.). Carl Spitzweg – aus einer wohlhabenden Münchner Familie mit einem Spezereien-Großhandel stammend – fügt sich zunächst dem Willen des Vaters und schlägt die Apothekerlaufbahn ein, sein Studium schließt er 1832 mit Auszeichnung ab. Genaue Beobachtungsgabe und analytischer Blick des Naturwissenschaftlers drücken sich auch in seinen pointierten Zeichnungen und Gemälden aus. Hinzu kommt sein musikalisch-künstlerisches Talent, das ihn als Teil des gebildeten Großbürgertums auszeichnet und ihm nach einer Erbschaft, mit der er finanziell abgesichert ist, in den späten 1830er Jahren erlaubt, sich ganz der Malerei zu widmen. Das Besondere an seinen Werken ist sein herausragendes erzählerisches Vermögen, in den Szenen oftmals genau den Moment vor der Wendung des Geschehens einzufangen und mit den Erwartungen der Betrachter:innen zu spielen. So auch in unserem Ständchen: In der verwinkelten Heimlichtuerei der verschatteten und vom Mondschein spärlich beleuchteten Architektur, verstellt von Mauern und Erkern, hat der verliebte Geigenspieler die oberste Sprosse der Leiter erklommen. Dort angekommen muss er feststellen, dass ihm wohl bereits ein anderer Verehrer bei seiner Angebeteten zuvorgekommen ist, wie schemenhaft in dem hohen Fenster zu erkennen. Wie ein Scheinwerfer projiziert der Mond seinen Schatten an die Wand und lässt seine Misere umso deutlicher aufleuchten: Sein Erschrecken über diese Demütigung lässt ihn schwankend um sein Gleichgewicht ringen, ein Sturz rücklings und eine zusätzliche Schmach hierdurch scheint unmittelbar bevorzustehen. Schon früh taucht das Motiv des verliebten Dachgeigers im Werk Spitzwegs auf, zunächst noch als Querformat mit Ähnlichkeiten zur Physiognomie des Künstlers selbst (Wichmann 1075), und beschäftigt ihn bis in die 1870er Jahre mit zahlreichen fantasievollen Abwandlungen und Zuspitzungen. 1848 notiert er in sein Tagebuch die Beobachtung einer solchen Szene: “nächtlicher Geiger gesehen – wie einst! – Lange Schatten – Lichtpunkte auf der Mauer“ (Wichmann, S. 180). Zeitweise wohnt Spitzweg selbst über den Dächern Münchens und mag etliche solcher Begebenheiten miterlebt haben. Darüber hinaus treffen diese auf das Interesse Spitzwegs an Musik und Theater, eine Abwandlung des Motivs ist bspw. die Version des 'Spanischen Ständchens' von 1856 (Bayerische Staatsgemäldesammlungen, Sammlung Schack, München), in dem Spitzweg vermutlich die Anfangsszene der Oper 'Der Barbier von Sevilla' wiedergibt. Spitzwegs angeheiratete Neffen sind Mitglieder und bedeutende Solisten der bayerischen Hofkapelle, geleitet von seinem Onkel Joseph Moralt, die im Orchester bei einer Aufführung dieser Oper mitwirken. Der verliebe Geiger oder das Ständchen darf als ein beliebtes und persönliches Motiv Spitzwegs gelten, das hier in den für Spitzwegs Nachtstücke so charakteristischen silbrigen Blautönen mondbeschienener Städtchen wiedergegeben wird. [KT] Aufrufzeit: 11.06.2022 - ca. 15.04 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Der Mondscheingeiger. Ende 1840s. Oil on canvas. Roennefahrt 1077. Verso of the canvas with three estate stamps (Lugt 2307). 53 x 32 cm (20.8 x 12.5 in). We are grateful to Mr. Detlef Rosenberger, who inspected the original artwork, for his kind support in cataloging this lot. The work will be included into the forthcoming catalog raisonné. PROVENANCE: From the artist's estate. Neue Galerie Schönemann & Lampl, Munich (1927). Hermann Abels, Cologne (1928). Collection Charles Hosmer Morse, Munich/USA (presumably acquired from the above, ever since family-owned). EXHIBITION: Spitzweg-Ausstellung, unter Mitarbeit von Hermann Uhde-Bernays, Neue Galerie Schönemann & Lampl, Munich, May-June 1927, no. 24 (here titled: 'Ständchen, Geiger auf der Leiter'). Meisterwerke deutscher Kunst, Kunstsalon Hermann Abels, Cologne, 1930 (with illu.). LITERATURE: Der Cicerone, issue 20, 1928, p. 410 (with illu.). Called up: June 11, 2022 - ca. 15.04 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Johann Georg von Dillis 1759 Gmain - 1841 München Landschaft mit dem Untersberg bei Salzburg. Um 1800-1810. Öl auf Bütten, kaschiert auf Leinwand. Messerer 81. Verso auf der Leinwand wohl von fremder Hand bezeichnet 'Untersberg bei Reichenhall / G v D'. Verso auf dem Keilrahmen von fremder Hand unleserlich bezeichnet. 36 x 49,5 cm (14,1 x 19,4 in). Mit einer Fotoexpertise von Frau Dr. Barbara Hardtwig, die das Werk im Original begutachtet hat. PROVENIENZ: Privatsammlung Bayern (seit ca. 100 Jahren in Familienbesitz). AUSSTELLUNG: Privatleihgabe Königliches Schloss Berchtesgaden (um 1923 oder 1950-1995). LITERATUR: Richard Messerer, Georg von Dillis, Leben und Werk, München 1961, S. 49, Nr. 81 (Abb. S. 156). Zwischen schlanken Laubbäumen erscheint der aus der Ebene steil ansteigende, markante Gipfel des Untersbergs bei Salzburg. Von leicht erhöhtem Standpunkt unterhalb der Wallfahrtskirche Maria Plain nordöstlich von Salzburg geht der Blick über das Salzachtal auf die charakteristische Felsformation, die sich nach rechts mit einem langen Rücken in die Tiefe erstreckt. Diese Wand begleitet das Saalachtal bei Reichenhall, so dass hinten ein ferner Teil des Lattengebirges und rechts im Bild zwischen dem Laubwerk der Gipfel des Hochstaufen auftaucht. Die Farbtöne Grau, Gelb und Grün gestalten mit pastos gesetzten Pinselstrichen die Hänge und den Felsenkamm des Untersbergs, der sich in nachmittäglicher Beleuchtung von Westen hell gegen die grüne Böschung vorn mit dem tiefgrünen Waldsaum rechts und den differenziert mit zarten, vor dem Himmel transparenten Baumkronen absetzt. Deren fein gefächertes Laub glänzt vereinzelt mit gelben Sonnenreflexen auf. Erst bei genauerem Hinsehen sichtbar ist die Staffage: ein Paar am Rand der Böschung unter dem mittleren Baum – die Frau sitzend, der Mann vor ihr kniend. In der für ihn charakteristischen Art deutet Dillis diese Figuren mit minimalen Pinselstrichen locker an. Für die Technik der Ölfarbe auf Papier ist hier ungewöhnlicherweise als Bildträger ein festes, relativ grob geschöpftes Büttenpapier gewählt – das Dillis vor allem für Zeichnungen seiner Frühzeit verwendete –, dessen Struktur ein wenig an eine Leinwandoberfläche erinnert. Das Bildmotiv ist mit einer Bleistiftvorzeichnung angelegt, sichtbar am Bergumriss und an der Waldzone darunter. Dillis hält sich über die Jahrzehnte seiner langen Lebenszeit mehrfach – wohl erstmals 1794 – in Salzburg und Reichenhall auf. Spätere Besuche sind für 1816 und 1818 durch Fremdenanzeigen von Salzburger Gasthöfen belegt. Damit ist eine Datierung nicht zu fixieren. Jedoch zeigt die Bildanlage mit dem vorgeschobenen Wiesenvordergrund und den die Fläche gliedernden Bäumen, den schmalen Baumstämmen und dem zarten, differenzierten Laubwerk eine in Dillis’ Frühzeit zu datierende Komposition, die man wohl zwischen 1800 und 1810 ansetzen darf. Dr. Barbara Hardtwig Aufrufzeit: 11.06.2022 - ca. 15.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJohann Georg von Dillis 1759 Gmain - 1841 München Landschaft mit dem Untersberg bei Salzburg. Um 1800-1810. Oil on laid paper, laminated on canvas. Messerer 81. Inscribed 'Untersberg bei Reichenhall / G v D' on the reverse, presumably by a hand other than that of the artist. Verso of the stretcher illegibly inscribed by a hand other than that of the artist. 36 x 49.5 cm (14.1 x 19.4 in). Accompanied by a photo expertise from Dr. Barbara Hardtwig, who inspected the original artwork. PROVENANCE: Private collection Bavaria (family-owned for ca. 100 years). EXHIBITION: Private loan to Royal Castle Berchtesgaden (around 1923 or between 1950 and 1995). LITERATURE: Richard Messerer, Georg von Dillis, Leben und Werk, Munich 1961, p. 49, no. 81 (illu. on p. 156). Called up: June 11, 2022 - ca. 15.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Narcisse-Virgile Diaz de la Pena 1808 Bordeaux - 1876 Menton Femme assise sur un tronc d'arbre / Sous-bois à Fontainebleau. 1862/65. Öl auf Leinwand. Links unten signiert. Verso auf der Leinwand sowie auf dem Keilrahmen mit alten Etiketten, nummeriertem Etikett 'F 518' sowie handschriftlich und typografisch nummeriert. 26,5 x 37,5 cm (10,4 x 14,7 in). Mit einer Expertise von André Watteau, CNES Paris, vom 16. Januar 1980 (im Original). Wir danken Frau Rolande Miquel und Michael T. Klaa, Catalogue raisonné Narcisse Diaz de la Peña, die die Authentizität des Werkes bestätigen. Das Werk ist im Catalogue raisonné unter der Nr. 571 verzeichnet. PROVENIENZ: James Staats Forbes (1823-1904), London (wohl bis 1913 in dessen Nachlass: F. A. C. Prestel, 10.12.1913). Hewson & Forster, Sheffield. J.W. Nicholson (1919 erworben). Privatsammlung (vom Vorgenannten durch Erbschaft erhalten, bis 1979: Christie's London). Privatsammlung Baden-Württemberg (1980 erworben). AUSSTELLUNG: Kunstsalon Paul Cassirer, Berlin/Hamburg (mit dem Etikett). L'école de la nature inspirée par Barbizon, Galerie du Fleuve, Paris, November-Dezember 1979. LITERATUR: F. A. C. Prestel, Katalog der Sammlung des Herrn Baron Th. J. Gudin mit Beständen aus der Sammlung J. S. Forbes - London und anderem Besitz, Gemälde und Zeichnungen Alter Meister und von Meistern der Barbizon-Schule. Im Anhang: Katalog einer rheinischen Sammlung, Auktion 10.12.1913, Frankfurt a.M. 1913, Los 54 ('Frau im Walde'; m. Abb). Christie’s, London, Auktion 6.4.1979, Los 216. Aufrufzeit: 11.06.2022 - ca. 15.41 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONNarcisse-Virgile Diaz de la Pena 1808 Bordeaux - 1876 Menton Femme assise sur un tronc d'arbre / Sous-bois à Fontainebleau. 1862/65. Oil on canvas. Lower left signed. Verso with old labels, numbered label 'F 518' and numbered in typography and by hand. 26.5 x 37.5 cm (10.4 x 14.7 in). Acompanied by an expertise from André Watteau, CNES Paris, dated January 16, 1980 (ioriginal). We are grateful to Mrs Rolande Miquel and Mr Michael T. Klaa, Catalogue raisonné Narcisse Diaz de la Peña, who confirmed this work's authenticity. The work is registered in the catalogue raisonné under the no. 571. PROVENANCE: James Staats Forbes (1823-1904), London (presumably until bis 1913, in his estate: F. A. C. Prestel, December 10, 1913). Hewson & Forster, Sheffield. J.W. Nicholson (acquired in 1919). Private collection (inherited from the above). Private collection Baden-Württemberg. EXHIBITION: Kunstsalon Paul Cassirer, Berlin/Hamburg (with the label). L'école de la nature inspirée par Barbizon, Galerie du Fleuve, Paris, November-December 1979. LITERATURE: F. A. C. Prestel, Katalog der Sammlung des Herrn Baron Th. J. Gudin mit Beständen aus der Sammlung J. S. Forbes - London und anderem Besitz, Gemälde und Zeichnungen Alter Meister und von Meistern der Barbizon-Schule. Im Anhang: Katalog einer rheinischen Sammlung, auction on December 10, 1913, Frankfurt a.M. 1913, lot 54 ('Frau im Walde'; with illu.). Christie’s, London, auction on April 6, 1979, lot 216. Called up: June 11, 2022 - ca. 15.41 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Original vintage cabaret show poster featuring a fantastic design by the notable graphic artist Rene Gruau (Renato de Zavagli; 1909-2004) to promote Bonjour la Nuit / Hello Night at the famous nightclub Lido on the Champs Elysees Paris for the club's 25th anniversary in 1971, created by Pierre Louis-Guerin and Rene Fraday and directed by Bob Turk with costumes by Folco. Colourful and flamboyant pin-up style burlesque image of scantily dressed smiling Bluebell Girls dancing in their flowing white feather costumes and sparkly jewellery with gentlemen in top hats as black silhouettes behind them against a dark blue background, the text over the white dress in stylised blue and black letters below. Le Lido opened in 1946; the Irish dancer "Miss Bluebell" Margaret Leibovici (nee Kelly; 1910-2004) founded the renowned Bluebell Girls dance troupe who performed at the Paris Lido from 1947. Excellent condition. Country of issue: France, designer: Rene Gruau, size (cm): 58x38, year of printing: 1971.

Original vintage advertising poster for an exhibition of work by Alexander Calder (1898-1976) at the Galerie Maeght in Paris, 1977. The poster features a bold abstract design by Calder, comprising a stack of blacked shapes and a red circle against a plain background. Text is black and blue, to the right and below the image. Best known for his mobiles, Calder was a profilic American sculptor who also worked on paintings, prints, theater and jewellery design and posters. Very good condition, minor staining. Country of issue: France, designer: Alexander Calder, size (cm): 76x59, year of printing: 1977.

Original vintage German motivational workplace poster issued by Parker-Holladay company in Berlin. Doval was a German equivalent of Bill Jones that was created in the UK by Parker-Holladay to promote the correct work ethic in the workplace. The concept was copyrighted and also taken to the USA and Canada motivating personnel to perform efficiently worldwide. The poster features an illustration of a man holding a hat leaving work early while other colleagues are seen at their desks working, bold stylised lettering reads - Start late stop early. Makes it easier for those who want a job. / Spät anfangen früh aufhören. Macht es denen leichter die veine stelle wollen. Fair condition, restored tears, staining, paper losses in left corners. Country of issue: Germany, designer: Doval, size (cm): 72x56, year of printing: 1929.

Original vintage propaganda poster National Savings In the Service of Man - This picture is dedicated to the Children of England & Wales by the National Savings Committee. They also Serve who Save National Savings. - the poster features illustrations of various animals - oxen, sheep, yak, carrier pigeon, husky dog, camel, rescue dog, horse, elephant. Issued by the National Savings Committee, London, Scottish Savings Committee, Belfast. Printed for Stationery Office by J. Howitt & Son Ltd, Nottingham. Good condition, creasing, minor staining, tears on edges. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1940s.

Original vintage advertising poster for Rudge Britains Best Bicycle, featuring an illustration of a blonde haired lady looking at the viewer over her shoulder with white clouds in blue sky. Rudge bicycles were built by a British engineer Daniel Rudge at Rudge Whitworth Cycle Company, after the Great Depression the name was bought by the music company EMI, who produced the bicycles from 1935 until 1943 when they sold the name to Raleigh. Good condition, restored folds, restored tears, minor staining, backed on linen. Country of issue: UK, designer: Unknown, size (cm): 76x76, year of printing: 1930s.

Original antique World War One recruitment poster - The Military Service Act, 1916, Applies to unmarried men who, on August 15th, 1915, were 18 years of age or over and who will not be 41 years of age on March 2nd, 1916. All men (not excepted or exempted), between the above ages who, on November 2nd, 1915, were Unmarried or Widowers without any Child dependent on them will, on Thursday, March 2nd, 1916 be deemed to be enlisted for the period of the War. They will be placed in the Reserve until Called Up in their Class. Men excepted: Soldiers, including Territorials who have volunteered for Foreign Service; Men serving in the Navy or Royal Marines; Men discharged from Army or Navy, disabled or ill, or Time-Expired men; Men rejected for the Army since August 14th, 1915; Clergymen, Priests, and Ministers of Religion; Visitors from the Dominions. Men who may be exempted by local tribunals: Men more useful to the Nation in their present employments; Men in whose case Military Service would cause serious hardship owing to exceptional financial or business obligations or domestic position; Men who are ill or infirm; Men who conscientiously object to combatant service. If the Tribunal thinks fit, men may, on this ground, be (a) exempted from combatant service only engaged in work of National importance. Up to March 2nd, a man can apply to his Local Tribunal for a certificate of exemption. There is a Right of Appeal. He will not be called up until his case has been dealt with finally. Certificates of exemption may be absolute, conditional or temporary. Such certificates can be renewed, varied or withdrawn. Men retain their Civil Rights until called up and are amenable to Civil Courts only. Do not wait until March 2nd. Enlist voluntarily now. For fuller particulars of the Act, please apply for Leaflet No. 64 to the nearest Post Office, Police Station, or Recruiting Office. Published by The Parliamentary Recruiting Committee, London. Poster No. 153. Printed by Roberts & Leete Ltd London. Good condition, folds, creasing, tears, minor staining. Country of issue: UK, designer: Unknown, size (cm): 101x63, year of printing: 1916.

Original vintage poster World War Two propaganda poster - Trap the Germs in Your Handkerchief - Cartoon illustration by Allan Carter features a couple watching a man on television who is about to sneeze, in the following frames they scramble to cover the TV with a giant handkerchief. In the final fram they stand proudly alongside the slogan - Coughs and Sneezes Spread Diseases. Printed for H.M Stationery Office by T B and Co. Very good condition, minor creasing, light browning, small tear on bottom right corner. Country of issue: UK, designer: Allan Carter, size (cm): 37x24, year of printing: 1940s.

Original vintage movie advertising poster for a Turkish film Mucizeler Yaratan Turk Ataturk / Turk Who Makes Miracles, the poster caption reads - great historical film 1000 metres away - featuring an illustration of Mustafa Kemal Ataturk with stylised lettering on red background. Kemal Ataturk also known as Mustafa Kemal Pasha (1881-1938) was the founding father of the Republic of Turkey and the first president of the country. Horizontal. Good condition, folds, creasing, staining, small tears on edges. Country of issue: Turkey, designer: Unknown, size (cm): 35x100, year of printing: 1957.

Original vintage movie poster for a biography film Rhodes of Africa / Rhodes l'Africain, directed by Berthold Viertel and Geoffrey Barkas, starring Walter Huston as Cecil John Rhodes, the poster features an illustration of Rhodes, indigenous African tribal people with drums, spears, and shields, and the title set over the outline of the African continent. The film tells the biographical story of Cecil Rhodes, a British diamond mining magnate and politician, who served as Prime Minister of the Cape Colony 1890-1896. Printed by Cine-Studio Brussels, Belgium. Good condition, folds, paper losses, pinholes, minor staining, backed on linen. Country of issue: Belgium, designer: Unknown, size (cm): 84x62, year of printing: 1930s.

Original vintage advertising poster for Profesor Alba - El Hombre Que Juega Con La Muerte / Professor Alba The Man Who Plays With Death, a magic act performed by Manolo Alba and his son Pablo Alba, magicians, hypnotists and psychic entertainers. The poster features a great illustration of Alba in a dress coat and white bow tie standing hand in hand with a skeleton holding a scythe against red background. Good condition, creasing, small tears in margins, small paper loss in margins. Country of issue: Spain, designer: Ramon, size (cm): 70x33, year of printing: 1959.

Frank Osborne (British 1885-1972): The Road to the Sea, gouache signed 38cm x 29cm Provenance: painted in 1964 and sold to the artist's agents A. Vivian Mansell & Co Ltd on 13th Feb 1964 for 30 guineas. Notes: Frank Osborne was a postcard and greeting card artist and illustrator who lived in Robin Hood's Bay. Little of his work has come on to the open market as the majority was sold with copyright. The present painting probably depicts a fictionalised landscape above Fylingthorpe, near Whitby. We are grateful for the artist's estate for their help in cataloguing this lot.

Charles Bronson print signed by Tom Hardy the actor who played him in the film L/E 8 of 10 - IS: 20cm x 29cm

AMAZING ADVENTURES #1 (1961 - MARVEL ) Origin and First appearance of Dr. Droom (the first Marvel-Age superhero), who later becomes Doctor Druid + Torr appearance - Jack Kirby, Dick Ayers monster cover and interior art - Flat/Unfolded - a photographic condition report is available on request