TISHU Wall Decorations

A framed black and white street photograph by Vivian Maier (American, 1926-2009), entitled "New York, NY, December 2, 1954", this is a gelatin silver prin...

A large and striking aboriginal painting by celebrated Australian artist Yannima Tommy Watson (1935s-2017; Pitjantjatjara people from Australia's central western desert). Stretched and ready to display (no frame). Medium: Acrylic on canvas Year of Creation: 2013 Title: Wati Kutjara An important aboriginal dreamtime story from the Western Australia (the song line is also known as Two Men Dreaming), the narrative is about two young lizard-men travelling all over the Western Desert. They covered a vast landscape from Kimberley in the north to Southern Australia. The two brothers often took the form of wind and left songs in their epic journey to enlighten the people they encountered with rituals and knowledge. As magical ancestral beings, they destroyed evil spirits and created sacred objects across all over the Western Dessert. Provenance: Agathon Galleries, Melbourne 2013 Art Yarramunua, Melbourne (accompanied by a certificate of authenticity) Private Collection, Melbourne 2017 About the artist (courtesy of Kate Owen and Japingka Gallery) Yannima Tommy Watson was a celebrated Pitjantjatara artist, born around 1935 in the desert west of Irrunytju in Western Australia. Tommy was a Law man of Karima skin group, and his traditional names were Yannima and Pikarli relate to specific sites near his birthplace at Anumarapiti, west of Irrunytju. As a young man Tommy learned the bush skills of hunting and gathering, living off the land. In these years his physical and spiritual knowledge of the land was deeply embedded in his life. Tommy Watson first met white people at Ernabella Mission in the 1940s. He then spent decades working as a stockman and laborer on cattle stations. Not until 2001 when he was in his mid 60s, did Tommy Watson pick up a paint brush and painted his first picture at Irrunytju art center established by a small group of artists. Watson's work became quickly recognized for his powerful use of colors and his mesmerizing creation of energetic movement. He exhibited in Alice Springs at Desert Mob and as a finalist at the Telstra NATSIAA Art Awards in Darwin. With his work becoming highly collectable, Tommy soon entered into an exclusive representation agreement with Jon Ioannou of Agathon Gallery. This arrangement marked the start of a second phase of Tommy's career and saw the creation of a large body of outstanding artworks which were to further propel Tommy into the upper echelons of Australian indigenous artists. This painting was created toward the end of that phase. In 2005, Tommy was commissioned, along with Ningura Napurrula, Lena Nyadbi, Michael Riley, Judy Watson, John Mawurndjul, Paddy Bedford...

A stunning abstract painting by Australian Aboriginal artist Wentja Napaltjarri (c1945 - 2021) entitled Rockhole West of Kintore, the work depicts the artist's ancestral land in Drea...

A vintage black and white gelatin silver black and white print by American photographer Gibson Ralph (born 1939, Los Angeles, CA), An iconic photo from Gibson's 1991 series Pharaonic...

A stunning Japanese Kesa (Monk's Vestment) made from thirteen columns of patchworks of shimmering woven brocades with luxuriant golden threads. Dated to late 19th century of Meiji Period, the elaborate woven motifs on this kesa feature repetitive roundels dragon and phoenix intermixed with peonies and chrysanthemum blossoms. Two shades of contrasting gold threads were used on a striking purplish-blue background, with a dark metallic thread for the outer border and a brighter thread for the main body. The brilliantly woven fabric was possibly recycled from Noh costumes...

A large unframed Japanese Futonji textile art circa late 19th century toward the end of the Meiji period. Seamed together from four vertical sections of cotton in deep indigo color, ...

A large unframed Japanese textile art circa late early 20th century toward the end of the Meiji period. Seamed together from four vertical sections of cotton in deep indigo color, th...

Artist: Wang Tiande (Chinese b.1960) Title: "Digital Series No.4 C07", 2004 Medium: Chinese ink on paper and cigarette burns Signed and dated lower left Wang Tiande 2004. Original gallery label on verso Frame (wood shadow box under acylic): 52 3/4" x 25 3/4" Provenance: Purchased from Michael Goedhuis, October 23, 2006 An important figure in the Chinese contemporary art scene, in the field of modern calligraphic art particularly, Wang Tiande was born in Shanghai in 1960. After graduating from the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, Wang received a doctoral degree in the calligraphy department of the same school. Currently, Wang is a professor at Shanghai Fudan University. His work is held in the permanent collection of many important museums across the globe, including the Metropolitan Museum of Art, the Museum of Fine Arts Boston and the British Museum. Known for his revival and reinterpretation of Chinese calligraphy and painting...

Artist: Philippe Halsman (1906-1979) Medium: Gelatin silver print Title: Dali Fishing Date: 1954; Printed in 1981 as part of the ten-piece Dali Portfolio...

A framed black and white gelatin silver photograph by American surrealist photographer Arthur Tress (1940-). Entitled "Adam in Central Park, New York". the gelatin silver print was m...

Artist: Philippe Halsman (1906-1979) Medium: Gelatin Silver Print Title: Invisible Dali Date: 1954; Printed in 1981 as part of the ten-piece Dali Portfolio...

A fiber art installation by Chinese artist Chen Qingqing (1953-), called "Clothing, from Artificial Artifact Series-Flower" was created in 2004 and purchased from Plum Blossom Galler...

A vintage Japanese silk Kuro Tomesode Kimono, circa 1950s-1980s. Kuro Tomesode is a dress for married woman for the most formal occasions, equivalent of the evening gowns in the west. It is overall black, decorated only with patterns of bright colors on the bottom. This kimono has three Mon family crests on the front and back shoulder. It is lined with white silk in its interior. On the front, it features exposed white stitches around neck and breast, a very subtle and elegant touch. The bottom part of the kimono is decorated with an embroidery imagery of two phoenix in flight. The lavish use of gold and polychrome threads and meticulous rendition of the birds contrast greatly with the otherwise sober black background. Pheonix is the mythical bird traditionally represents the Queen or Female Supreme in Chinese culture. Known as Hoo-oo in Japanese, Pheonix is a symbol of good fortune, power and divine wisdom and represents the sun goddess Amaterasu, the Queen of Heaven and Creation, who was believed to be the ancestor of the lines of the Japanese imperial family...

A significant contemporary aboriginal painting by Kathleen Petyarre (1940-2018) in 2010. The painting was a rare oversize piece, exceptionally executed in earthy colors, showcasing m...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Margie Medium: Cyanotype Year: 1996 Edition: number 2/10 Measurement: Sight H 9", W 7.5"; with artist fame H 14.5", W 12.5" Pr...

A stunning Japanese embroidery tapestry circa 1880s-1900s from late Meiji period, presented with an original wood frame with inner gold trim. The tour-de-force embroidered tapestry s...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "I could read it clearly in his palm. There would be a terrible tragedy. My love could not protect him" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "After his shower, he dried himself very carefully. and although he would never admit it, it had all been done for my benefit" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "Just to light his cigarette was a great pleasure" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery...

Artist: Liu Xiaofang (Chinese, b. 1980) Title: I Remember II-02, 2012 Medium: Digital pigment print mounted on Acrylic Measurement: 39.25" x 39.25" Edition: 2/8 PROVENANCE: Purchased...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 44 Oki Province: Takuhi Shrine Medium: Woodblock Print Date: 1853 (Kaei 6), 12th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Blockcutter's mark: Hori Ko-Sen Signature: Hiroshige hitsu Additional marks: Censor's seals: aratame, Ox 12 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MIA (Minneapolis Institute of Art) Accession Number P.75.51.398; MFA...

A framed C-print photography by British artist Sam Taylor-Wood (1967-). Entitled "Self-Portrait in a Single-Breasted Suit with Hare", the print was made in 2001 and its unique in this size at 9" h x 6" w. Presented in a wood frame. Provenance: Matthew Marks Gallery, NYC (label verso). Artist Biography (courtesy of Guggenheim Musuem Collection) Sam Taylor-Wood B. 1967, LONDON Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; the latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music, film, and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, creating a party-like environment in the gallery where the viewer is privy to these personal exchanges. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes the well-known art historical subject. Her video David (2004) evokes similar connotations and intimately unveils the much-photographed dynamic soccer icon David Beckham in deep sleep. Time and speed are often centerpieces of her videos, whether the rapid acceleration of a bowl of fruit’s decay process in Still Life (2001) or the illusion of frozen time in The Last Century (2006), for which the actors are in fact filmed in real time but remain impossibly still. Taylor-Wood’s first narrative film, Love You More (2008), borrows its title from a song by the 70s punk band Buzzcocks and chronicles the story of two teenagers who hear the recently released song together in a record store. Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995, 2001, 2004, and 2008), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), Musée d’Art Contemporain de Montréal (2002), Russian Museum in St. Petersburg (2004), Museum of Contemporary Art in Sydney (2006), Museum of Contemporary Art in Cleveland (2007), and Museum of Contemporary Art in Houston...

A Japanese silk Suijaku hanging scroll beautifully presented in a custom wood shadow box frame from Edo period (circa 18-19th century). The scroll, surmounted on golden brocade was painted in fine details with gouache, ink and gold powder highlight, served as a Suijaku mandala for the worshippers. Honji Suijaku is a complicated religious concept uniquely developed in Japan. It mixed and hybrid the Buddism deities with native shinto spirits (known as Kami), which were seen as local manifestations (the suijaku, literally means a "trace") of Buddhist deities (the honji literally the original ground). The original idea may lie with the synergetic strategy to spread Buddism by making it more relatable to the local population who had already worshiped Shinto gods. The paradigm, adopted in the 10th century from an orignal Chinese concept, remained a defining feature of Japanese religious life up to the end of the Edo period (1868). Instead of being confined to deities, its application was often extended to historical figures as shown on this scroll. This long hanging scroll depicts an arrangement of 21 figures including Buddhism and Shinto deities as well as two historical figures on the bottom. Each figure was name-tagged in Kanji for easy identification by the worshippers. It was used in the temple or shrine so that when the worshipper prayed in front the mandala, they prayed simultaneously to all the deities. On the very top, sits Nyorai-Kojin, a hybrid deity of Nyorai Buddha and Kojin, the kaki for fire, stove and kitchen. From the top to bottom and left to right, here is the list of the deities: Kanon with Thousand Hands, Kanon with Willow Branch, Monju Bosatsu...

A contemporary ink painting on paper by Chinese artist Li Jin (1958-) presented in a white shadowbox frame. Entitled in English "Morning Practice in California", this series of work was painted in 2017 when the artist resided in US. The Chinese title inscription is "Blossom Branch" with artist's name signed in both Chinese and English. The painting is considered "Expressionistic-abstract". Using only various shades of ink, the poetic work depicts a large lotus flower with the pistil in the center composed of clusters of mediating arhats, the beings who have gained nirvana through Buddhism practice (known as Luohans in Chinese). There is a strong association of lotus flower and purity in Buddhism. The wisdom one can possibly achieve may be considered omnipresent and morphogenetical quantum and be part of everything around us. The image size is 13.5" x 13.5". Provenance: Purchased in 2017 from the Ink Studio at West Bund Art and Design Fair, Shanghai, China. Li Jin (1958-, Tianjin, China) is an ink master who draws from the tradition of Chinese literati ink painting and creates contemporary works celebrating all aspects of everyday life. Having explored color washes for two decades, Li Jin has translated them into a masterful control of tonality-the "five colors of ink"-in a series of monochrome paintings in the expressionistic-abstract "Da Xie Yi" manner. Through the ink medium's inherent sensitivity and ambiguity, they evoke the nuances of human existence and raise profound questions about self-representation and subjectivity. Trained at Tianjin Academy of Fine Arts (graduated in 1983) and has been a leading figure in contemporary Chinese ink art...

A visually arresting photograph by John Patrick Dugdale (American, born 1960-) titled "Stillness of Spirit". Relatively large in print size, the w...

An iconic black and white photography by Barbara Morgan (American, 1900-1992) of "Martha Graham, Letter to the World". The photo was originally tak...

Entitled "Two Kuniya (Pythons) During Tingari Cycle", this mesmerizing painting was painted by Australian aboriginal artist Kenny Williams Tjampitjinpa...

A stunning abstract painting by Australian Aboriginal artist Nyurapayia Nampitjinpa (also known as Mrs. Bennett; 1935-2013). Entitled "Tjukurla Country", this work was acrylic on Be...

A contemporary painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-2023). Entitled "Rain Dreaming", the artwork was acrylic on canvas and painted in 1999 Fully documented: originally purchased in 1999 from Kimberley Australian Aboriginal Art, Melbourne, cat. no. KA 708/99; The in the collection of The Kelton Foundation, Santa Monica; It was exhibited in: "G'Day LA" Australia Week, in partnership with the Australian Consulate Los Angeles, Pacific Design Center, West Hollywood, CA, 15-25 January 2004. It is housed in a black thin wood frame. Ronnie Tjampitjinpa was born in Pintupi land at Muyinnga, about 100 kilometres west of the Kintore Range, just across the Western Australian border. He is the son of Uta Uta Tjangala’s older brother, Minpuru Tjangala (c.1899–1976). Artist's Biography (Courtesy of Art Gallery NSW) After his initiation into Pintupi law at the site of Yumari, Tjampitjinpa and his younger brother Smithy Zimran Tjampitjinpa walked into the Aboriginal community of Yuendumu. They later joined their parents and other siblings – who had come in to Ikuntji (Haasts Bluff) in 1956 from the Dover Hills/Yumari area – at the new settlement of Papunya. Tjampitjinpa worked as a labourer, assisting with the fencing of the aerodromes at Papunya and Ikuntji. He was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971, and was a founder of Paunya Tula Artists. During the 1970s, Tjampitjinpa was preoccupied with returning to his traditional lands and became a strong advocate for the outstation movement, travelling between meetings in Papunya, Yuendumu, Wirrimanu (Balgo) and Mount Doreen Station. His goal was finally achieved with the establishment of the Walungurru (Kintore) settlement in 1981. Tjampitjinpa moved there with his young family in 1983, establishing an outstation at Ininti (Redbank) and serving as chairman of the Kintore Outstation Council. During this period, he emerged as one of Papunya Tula Artists’ major painters, pioneering the bold, scaled-up, linear style that came to dominate many of the Walungurru painters’ work during the 1990s. His distinctive aesthetic preoccupa-tion is exemplified in the untitled works of 1994 and 2001. Now one of the last founding members of Papunya Tula Artists, Tjampitjinpa’s career spans more than 40 years. He has had six solo exhibitions since 1989 in Australia, most recently at Utopia Art, Sydney. Throughout the 1980s Tjampitjinpa worked devotedly on a land claim for Ininti, holding meetings in Darwin, Warmun (Turkey Creek...

Entitled "Rock Bottom", this triptych photographs were by American photographer David Hilliard (born 1964) in 2008. These chromogenic prints were f...

A massive Japanese embordered tapestry professionally displayed in a custom acrylic shadow box. The fine work of textile art is dated to 1890-1920s, late Meiji (1868-1912) or possibl...

A large wall-hanging ceramic platter by French artist Clement Massier (1811-1917) made in his studio in Golfe-Juan, France, dated to August 31st of 1891. The Art Nouveau style plate ...

Entitled "My Country", this bold and abstract landscape painting was by renowned Australian aboriginal artist Kudditji Kngwarreye (1928-2017). Acrylic painting on canvas, it was painted in 2012 and signed and inscribed on verso. The saturated colors and the visible brush strokes and intentionally uneven earth-like textures invokes the view of a landscape, partially real, partially imaginary. Kudditji Kngwarreye from the Utopia community in the Northern Territory. He was the skin brother of the late Emily Kame Kngwarreye and like his skin sister Emily, was one of the most prominent and successful artists in the history of contemporary indigenous Australian...

Artist: John Patrick Dugdale (American, born 1960) Title: Figs and Pomegranates Year: 1997 Print type: Cyanotype Edition: Number 10 of an edition ...

A vintage gelatin silver print photograph by celebrated Hungarian-born photographer André Kertész (1894-1985). Entitled "Martinique", printed in 1972, this is an iconic image by the ...

An iconic fashion photograph by Albert Watson (Scottish, 1942-). Entitled "Leslie Winer in Yohji Yamamoto, London, 1989", this is an editioned chromogenic...

"Sweet Potato Dreaming" painting by Lorna Fencer Napurrula Lorna is a Senior Warlpiri Custodian and she is among a small group of women who collectively produced the first paintings ...

Description: "Caterpillar Dreaming" painting by Lorna Fencer Napurrula Lorna is a Senior Warlpiri Custodian and she is among a small group of women who collectively produced the fir...

A large aboriginal painting by Ningura Napurrula (1938-2013). Title: "Rockhole Site of Wirrulnga" Artists: Ningura Napurrula (Australian Aboriginal, c.1938-2013) Birthplace: Watul...

A spectacular Japanese embroidered silk panel beautifully presented in a gilt frame suspended in a lucite shadow box with gilt wood border. The silk picture is dated to 1890-1910s toward the end of Meiji Period, when Japanese started to participate international expose by presenting its best art and craft. Elaborate embroidered silk tapestry like this was very popular among westerners due to its superb craftmanship and also exotic subject matter that was often derived from classic Japanese folklore, mythology and various motifs. The tapestry on offer is such an example. It depicts an old couple...

A fine Korean silk embroidered rank badge (Hyungbae in Korean) from Joseon Dynasty circa late 19th century. The badge features a design of double flying cr...

Artwork by Gordon Cheung, "Window A #49" sculpted with Bamboo, the Financial Times and adhesive, 2020 Windows Traditional Chinese windows made from financial newspaper and bamb...

A set of three paintings of ink and watercolor on silk mounted within brocade borders as scrolls by Watanabe Seitei (1851-1918). This is a very rare an...

Artist: Quentin Shih (aka Xiaofan Shi; Chinese, 1975-) Title: "Rey Mascullo, Yesmany Ramirez and Javier Lopez", From La Habana In Waiting Part A. Year: ...

Artist: John Patrick Dugdale (New York, b. 1960) Title: The Spirit Eye Medium: Cyanotype Year: 1998 Edition: number 3/12 Measurement: H 14", W 11"...

Yoshida Kimiko (Japanese, b. 1963) The Golden Bride from Fez, 2005 C-print, Diasec; aluminum mounted Signed, titled and dated to artist's label verso...

Yoshida Kimiko (Japanese, b. 1963) The Berber Bride, Morocco, early 20th century; self-portrait C-print, Diasec; aluminum mounted Signed, titled and dated to artist's label verso Edition 2/10 Size: 47.25 x 47.25 in. Kimiko Yoshida...

A Japanese festival kimono expertly mounted and displayed in a large acrylic shadow box. This impressive ceremonial garment circa late 19th-early 20th century was made from a thick l...

A Korean folk Shamanism watercolor on textile matted with woven brocade and presented in a wood frame with an oriental style metal hanging hardware. The painting was estimated to be from early 20th century circa 1910-1930s. It depicts Guan Yu (160-220AD), a legendary Chinese warrior and general from Eastern Han Dynasty. Long worshiped in China as a deity, across all three major religions, Guan Gong...

An impressive Japanese embroidery tapestry circa 1890s Meiji period, presented with brocade border on linen canvas in a Lucite shadow box. The stunning design features three dragons coiling and flying in the clouds. The high relief technique used to render the dragons using mostly the silver threads gives this piece a tremendous sense of motion. The most auspicious mythological creature in Japan and China, dragons were a very popular motif in textile art. In this particular piece, it is the impressive size, the superb craftsmanship, the profuse use of silver threads and near perfect condition that set it apart. Japanese Meiji textiles were widely exhibited in the west during turn of the 20th century at the international exposition. It was used to showcase the Japanese aesthetics with the techniques at their pinnacle. These expositions solidified the country's images overseas and felled the Japanese craze in the west, which turned out to be a long-lasting influence on the western art. Many pieces were purchased and stayed in the west. It is likely this estate piece was from one of the expositions based on its high quality. For two similar dragon tapestries...

A lovely diptyque paintings by Australian Aboriginal artist Raelene Kerinauia (1962- ). Born in 1962 (Tiwi People), Wurrumiyanga, Mantiyupwi Country, Bathurst Island, Northern Terri...

Artist: Pedro Friedeberg (Mexican, 1936-) Title:Le Tombeau D'Hemingway Year: 1963 Medium: Ink and watercolor on paper: Size: 14 3/4 x 19 1/2 plus 3 inch frame Mark: upper lef...

Artists: Pedro Friedeberg (Mexican, b. 1936) Title: "Nietzche's Last Picnic" Year: 1969 Medium: oil, pen and ink on board Size: 15 x 20" Marked: signed and dated "MCMLXIX" mid-...

A modernist wool woven tapestry designed by French artist and designer Mathieu Mategot (1910-2001) circa 1960s. The piece is signed with Matégot and monogrammed TMP fino (Manufactur...

A finely embroidered Japanese silk Fukusa panel presented in a beautiful silk-lined giltwood frame (newly framed and glazed), circa late 19th century of Meiji Period. Fukusa is a tra...

A finely embroidered Japanese silk Fukusa panel presented in a beautiful silk-lined giltwood frame (newly framed and glazed), circa late 19th century of Meiji Period. Fukusa is a traditional Japanese textile art used to wrap and present gifts at important occasions. Depending on the occasion, the panel itself can be a very fine textile art on its own. On the deep blue background, this elaborate textile art depicts an old couple standing on a bridge with three bystanders, flanked by pine trees with hills afar. The couple is Jotomba (Joo and Uba are their respective names), characters in the Legend of Takasago, one of the oldest Japanese mythologies, who are associated with old pines. The legend goes as: "At Takasago Shrine there is a very old pine tree, the trunk of which is bifurcated; in it dwells the spirit of the Maiden of Takasago who was seen once by the son of Izanagi who fell in love and wedded her. Both lived to a very great age, dying at the same hour on the same day, and since then their spirits abide in the tree, but on moonlight nights they return to human shape to revisit the scene of their earthly felicity and pursue their work of gathering pine needles. His pine tree is called “The Pine of Suminoe” while hers is "Takasago pine". In Japan, Takasago couple...

A large woven textile panel from Nazca culture on the south coast of nowadays Peru circa 600 to 800AD. The panel with short fringes on the end used to be half of a sleeveless tunic (similar to poncho) in which two similar pieces were joined together. Professionally mounted and conversed on a linen-backed wood frame and presented in an acrylic shadow box. The textile was finely woven from a camelid fiber dyed with natural pigments. The work strikes the viewer immediately with its unexpected modernity. The tri-colored geometrical blocks created a zigzagged step design that is visually minimal but bold at the same time. Its repetition evokes a lyrical visual rhythm that is unparallel in the ancient textile art and could easily mistake it as an abstract art from the 20th century. The zigzag step design was one of the unusual abstract motifs used by the pre-Columbian weavers from Nazca, who created some of the most mysterious and soul-stirring work with a minimalism aesthetic that was rarely seen in the ancient world. Considering that the artists were completely isolated without the influences of other cultures, their intrinsic creativity and artistic vision are even more impressive. Reference: James W. Reid, The Lee M...

A large Nazca-Wari woven textile panel known as Llika or Awayo (shawl) from Ica Valley on the south coast of nowadays Peru. Professionally mounted and conversed on a linen-backed wood frame and presented in an acrylic shadow box. Shawls with this step design were identified as made from the period of 700 to 1100 AD during the transitional period when Nazca went under the expanded rule of the Wari empire. The textile was finely woven from a camelid fiber dyed with natural pigments. The work strikes the viewer immediately with its unexpected modernity. The simple, bold and repetitive geometry with the scintillating color blocks created a lyrical visual rhythm and could easily mistake it as an abstract art from the 20th century. The step design was one of the unusual abstract motifs used by the pre-Columbian weavers from Nazca, who created some of the most mysterious and soul-stirring work with a minimalism aesthetic that was rarely seen in any other ancient textile art. Considering that the artists were completely isolated without the influences of other cultures, their intrinsic creativity and artistic vision are even more impressive. Provenance: From the collection of Lee M...