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Item Tag: Illegible Signature

GORGEOUS ANTIQUE MODERN DAISY FLOWERS STILL LIFE OIL PAINTING OLD VINTAGE 1956

GORGEOUS ANTIQUE STILL LIFE IMPRESSIONIST OIL PAINTING ON BOARD. (CIRCA 1956) THIS WORK DEPICTS A BEAUTIFUL BOUQUET OF OXEYE DAISIES ARRANGED IN A SIMPLE BLACK VASE. THE ARTIST MASTERFULLY CAPTURES THE NATURAL GRACE OF THE WHITE PETALS AND GOLDEN CENTERS, SET AGAINST A RICH, EARTHEN BROWN BACKGROUND THAT ENHANCES THE LUMINOSITY OF THE FLOWERS. THE BRUSHWORK IS SOFT YET CONTROLLED, EVOKING A SENSE OF TRANQUILITY. SIMPLY AMAZING. THIS WORK IS SIGNED AND DATED 1956. PERHAPS YOU RECOGNIZE THE ARTIST? EXCELLENT OVERALL CONDITION. DIMENSIONS INCLUDING THE FRAME: 19” W x 22” H DIMENSIONS WITHOUT THE FRAME: 14” W x 17” H

LARGE VINTAGE MODERN ABSTRACT CUBISM OIL PAINTING RECLINING CUBIST WOMAN 1962

CAPTIVATING VINTAGE MODERN ABSTRACT CUBISM OIL PAINTING ON CANVAS DEPICTING A RECLINING FEMALE FIGURE WITH BOLD GEOMETRIC FORMS, RICH EARTH-TONED COLORS, AND EXPRESSIVE BRUSHWORK. A STRIKING MODERNIST COMPOSITION. THIS WORK IS SIGNED AND DATED 1962. PERHAPS YOU RECOGNIZE THE ARTIST? GOOD OVERALL CONDITION. MILD WEAR AS SHOWN. DIMENSIONS: 48”W x 30”H

LARGE ANTIQUE MID CENTURY MODERN ABSTRACT OIL PAINTING OLD VINTAGE POLLOCK 1959

LARGE CAPTIVATING AND OUTSTANDING ANTIQUE MID CENTURY MODERN ABSTRACT EXPRESSIONIST OIL PAINTING ON BOARD IN THE STYLE OF WORLD RENOWNED MODERNIST PAINTER JACKSON POLLOCK. (American 1912-1956). THIS WORK IS SIGNED AND DATED 1959 IN THE LOWER RIGHTHAND CORNER, HOWEVER THE SIGNATURE IS ILLEGIBLE. PERHAPS YOU RECOGNIZE THE ARTIST? WE ACQUIRED THIS PIECE FROM A PRIVATE MID CENTURY MODERN ESTATE IN LOS ANGELES CALIFORNIA. THE DECEASED OWNER WAS A WORLD TRAVELER. THE HOME WAS FILLED WITH EXQUISITE MODERN FURNITURE AND FINE ART. GOOD OVERALL CONDITION. DIMENSIONS: 72” LONG x 20” HIGH. Jackson Pollock (1912 – 1956) was active/lived in New York, Wyoming. Jackson Pollock is known for Gestural painting, abstract expressionism. Jackson Pollock Born: 1912 – Cody, Wyoming Died: 1956 – Southampton, New York Born in Cody, Wyoming to Scotch-Irish parents, Jackson Pollock was dubbed “Jack the Dripper” (Time magazine 1956) for his revolutionary technique of gestural painting that freed generations of American artists from academic strictures. He used dissonant, garish colors, and applied paint with energetic circular motions to large canvases so that his work exuded physical energy. It also, according to many art historians, reflected his own turbulent, manic depressive personality. Pollock was raised in Arizona and California and helped his father in the late 1920s with a surveying job on the north rim of the Grand Canyon. It is thought that his life-long compulsive fear and fascination of vast, open spaces “probably originated at this time”. (Anschutz Collection) During these years, he and his brothers investigated Indian mounds near Phoenix by the home of a family named Minsch where Pollock's mother worked as a housekeeper. From those experiences, Pollock later used occasional Indian symbolism in his paintings. He also had ongoing interest in Southwest Indians and under his bed kept twelve volumes on these subjects of illustrated annual reports from the Smithsonian Institution. After living as a youth in Arizona and not finishing high school, he left to join his brother, Charles Cecil Pollock, at the Art Students League in New York. He never again lived in the West but went through on visits to California. His nostalgia for the West persisted, and he frequently dressed in cowboy garb; some thought his personality traits were akin to those of legendary cowboys–a loner, melancholy, rash, impulsive, quiet, and alcoholic. He went to the Art Students League with the intention of studying with Thomas Hart Benton, the most celebrated artist of the Depression and later a well-known Regionalist painter from Missouri. Benton took a particular interest in Pollock because Benton preferred friendships with “virile and honest” people from the West and Midwest like himself. Benton had the greatest influence on Pollack, teaching that the artist's experience with painting was of more importance than the resulting work. Benton promoted theories of rhythmic balance, dynamic sequence, and “muscular action patterns,” all of which Pollock utilized later in his work. Pollock, from his earliest days studying art in California, was also much influenced by techniques of El Greco, Spanish painter, whose rhythmic repetition of forms he adopted. In the summers in the 1930s, Pollock would “hit the highway,” often going through Oklahoma and the Panhandle of Texas, and from these experiences he did prints showing cowboy and farm activity. He also had work as a W.P.A. artist, working in the Mural Division, which required one painting a month for a public building. By the late 1930s, he was seeking professional treatment for alcoholic depression. He did many expressive paintings, which he said were intended to free him of the yoke of Benton's influence and from his mental problems. He also came under the influence of the Mexican muralists David Siqueiros, Jose Orozco, and Diego Rivera, whose extensive use of symbolism Pollock utilized in his large-scale paintings. In the 1940s, his emotional turmoil led him to themes that were mythic and heroic in highly abstract styles including Cubism, Surrealist automatism, Abstract Expressionism, and the biomorphic forms of Joan Miro. For him, a turning point for public recognition came with his friendship with Peggy Guggenheim, wealthy New York heiress whose money built the Guggenheim Museum. In November, 1943, she gave him a solo exhibition and a contract guaranteeing him one-hundred fifty dollars a month for a year, freeing him from financial straits. She also commissioned him to decorate her apartment. This first Guggenheim exhibition was followed by two others for Pollock. For her, this was the beginning of promoting her “war babies,” unknown American artists whom she thought had promise, and for him, her show of confidence in his work was a great boost to his ego and reputation. Pollock married Lee Krasner, a Russian Jewish artist, with whom he had a crisis-driven relationship but a sharing of interest in mysticism and avant-garde painting. They lived at East Hampton on Long Island, and the move away from the city seemed by 1946 to have a freeing effect on his painting. Much influenced by her theories and encouragement, he began painting increasingly with drips, smears, and giant circular motions over smaller geometric shapes. This technique seemed particularly inspired by readying for an exhibit in 1947 arranged by Betty Parsons, who took over Peggy Guggenheim's Gallery. He made a transition to mural size works asserting that easel painting was a dying form. He laid canvases on the floor, where he felt nearer his work, and feeling totally into the work, likened it to Indian sand painting. He applied paint with sticks, trowels, knives, and by dripping paint. He spoke of the painting taking on a life of its own, and a sense of pure harmony with the creation. It set a new standard in American art, especially when Pollock abandoned brushes completely for dripping and pouring paint to avoid the disruption of reloading the paint brush. He said he had a general notion of what he was about before beginning but that the painting also took on a life of its own. For a period in the late 1940s and early 1950s, he abstained from alcohol and lived quietly on Long Island. However, his success with these works seems to have paralyzed him, and he felt his privacy eroded. Life magazine had a feature on him suggesting that he was “the greatest living painter in the United States.” He returned to drink, which seemed to trigger his creativity, but his paintings began to lack color and were horrifying with eyes and totems. They were done scroll-like with thin black paint on huge bolts of unsized duck cloth. He also did scary self portraits, which revealed himself as tense, confused and despairing. Financially neither he nor Krasner did well and lived off wealthy friends, and the only time he made serious money was 1956, the last year of his life. However, by then, he was producing virtually nothing and was drinking constantly. On August 27, 1956, he died in a one-car auto crash, in which one other person, his female passenger was also killed. He had been a turbulent soul, stilled by the alcoholism that so dominated his life. However, his influence on American art is monumental, reinforced by the fact that ARTNews magazine selected him as one of the top twenty-five most important-ever western artists. According to the article, he “shattered pictorial space.”

ANTIQUE MODERN CALIFORNIA ALVERA STREET LANDSCAPE OIL PAINTING OLD LOS ANGELES

IMPORTANT ANTIQUE MODERN EL PUEBLO DE LOS ANGELES LANDSCAPE IMPRESSIONIST OIL PAINTING ON BOARD DEPICTING THE HISTORIC ALVERA STREET, A VIBRANT AND COLORFUL OUTDOOR MARKETPLACE IN LOS ANGELES, CA. THE ARTIST SKILLFULLY CAPTURES THE SCENE'S ESSENCE WITH ABSTRACT FIGURES ENGAGED IN DAILY LIFE ON ALVERA STREET. BASKETS OVERFLOWING WITH FRUITS, VEGETABLES, AND OBJECTS CREATE A LIVELY CONTRAST UNDER THE WHITE TINTS. IN THE BACKGROUND, IMPORTANT HISTORICAL LOS ANGELES BUILDINGS STAND TALL, THEIR ARCHITECTURAL DETAILS HINTED AT. THE COMPOSITION BEAUTIFULLY BLENDS THE RICHNESS OF CULTURAL ELEMENTS, OFFERING A CAPTIVATING GLIMPSE INTO EVERYDAY LIFE AND THE HISTORICAL SIGNIFICANCE OF THE ALVERA STREET MARKETPLACE. SIMPLY AMAZING. THIS WORK IS SIGNED IN THE LOWER RIGHTHAND CORNER. PERHAPS YOU RECOGNIZE THE ARTIST? IT DATES AROUND THE 1960s. GOOD OVERALL CONDITION. MILD SCRATCHES TO THE FRAME AS SHOWN. IT DOES NOT DETRACT FROM ITS BEAUTY IN ANY WAY. DIMENSIONS: 36” H x 46” W Olvera Street is one of the oldest streets in the City of Los Angeles and was originally a very short lane known as Calle de las Vignas or Wine Street. In 1877, the City Council changed the name to Olvera Street in honor of Agustin Olvera, the first judge of the County of Los Angeles. The colorful Mexican marketplace opened on Easter Sunday, April 20, 1930, following a preservation campaign that was spearheaded by Christine Sterling. Several of LA's most historic buildings are located along the tree-shaded, brick-lined block, as well as dozens of Olvera Street shops, restaurants and other businesses. Los Angeles did not begin with the Spaniards; it was settled under a different name by the Gabrieleno/Tongva Nation, aborigines who were established centuries before King Carlos the III of Spain ordered his countrymen to come to Southern California. Following the king’s orders, 11 Mexican families settled El Pueblo de Los Angeles in 1781. Olvera Street is the oldest part of Downtown Los Angeles, and although some call it “the birthplace of Los Angeles,” in reality—well, it’s close. Originally near vineyards and a winery, the street was called either Wine Street or Vine Street (depending on which 19th Century map you look at, or whether wine had been spilled on half the “W” in “Wine”). In 1818, the Avila Adobe was constructed, now the oldest existing house in the city. In 1877, Wine/Vine Street was officially changed to Olvera in honor of the county’s first judge, Agustin Olvera, who lived on the street. The turn of the century brought with it neglect, decay and disrepair. With the neglect came the city’s forgotten, the poor working immigrants. Many of the city’s unemployed gathered in the plaza, and it became a hotbed of radical politics. Revolutionary icons such as anarchist Emma Goldman and Sun Yat-Sen, “the father of modern China,” spoke there. But the street continued its downward spiral of neglect. Some referred to it as “Sonora Town,” reflecting the Mexican state of origin of most of Los Angeles' founders. Enter Christine Sterling, a wealthy, young, well-connected socialite from Northern California with a hunger for history. When Christine first discovered Olvera Street in 1926, she was shocked by the dilapidated condition of the oldest part of the city. Where once had stood the city’s finest buildings and cultural center was now a hideaway for prostitutes and street crime. Old Olvera Street had a date with the bulldozers, but Christine would have none of that. She envisioned a Mexican Marketplace and a cultural center in the heart of Los Angeles to preserve the memory of old L.A. Christine’s romantic vision brought Los Angeles’ first street back to life and brought in Mexican American merchants to sell their wares, artifacts and celebrate their fiestas as they would in old Mexico. The Avila Adobe and most of the other 26 surrounding structures were ticketed for demolition. Christine campaigned for favorable press from the Los Angeles Times, and with that came help investors and government agencies (including the Sheriff’s Department, which provided prisoners for labor). Her dream of closing the street to automobile traffic and opening a Mexican village came to fruition on Easter Sunday, 1930. Today, the 44-acre El Pueblo Historic Park is a colorful Mexican marketplace lined with street vendors, cafes, restaurants and gift shops selling handcrafted goods, Mexican folk art, and the expected tourist items made in China. There are 27 historic buildings with a traditional Mexican style plaza area. Tourists, celebrities, politicians and dignitaries from around the world wander around the marketplace smelling the ever-present taquitos and tacos at the outdoor cafes and listening to the strolling mariachi music, and dance performances by Aztecs and Mexican folkloric dancers on weekends. Olvera Street hosts the city's first church, firehouse and theater, in addition to the Avila Adobe and other historic sites and residences, roughly outlined by Alameda and Hill streets, Cesar E. Chavez Avenue and the 101 (Hollywood Freeway). On the south side of the Plaza is the Pico House. Pio Pico was the last Mexican governor of California (1845-46) and his house was the first hotel in the city. In its center lies the old plaza, the symbolic heart of Los Angeles.

ANTIQUE FRENCH STILL LIFE ROSES FLOWERS WATERCOLOR PAINTING VINTAGE FRANCE 1916

ELEGANT EARLY 20TH CENTURY FRENCH ANTIQUE WATERCOLOR PAINTING DEPICTING A DELICATE BOUQUET OF ROSES BEAUTIFULLY ARRANGED IN A TRANSLUCENT GLASS VASE. BEAUTIFULLY EXECUTED WITH LUMINOUS COLOR, SUBTLE LIGHT, AND MASTERFUL BRUSHWORK. A SOPHISTICATED WORK THAT BRINGS CLASSIC EUROPEAN BEAUTY TO ANY DISTINGUISHED COLLECTION. THIS WORK IS SIGNED AND DATED 1916. PERHAPS YOU RECOGNIZE THE ARTIST? GOOD OVERALL CONDITION. MILD WEAR AS SHOWN. DIMENSIONS INCLUDING THE FRAME: 20”H x 18”W DIMENSIONS WITHOUT THE FRAME: 11” W x 13” H