Berkshires

Harry A. Neyland American, 1877-1958 Rocks on the Shore Oil on canvas 26 by 32 in, w/ frame 34 ½ by 40 ½ in Signed lower left Harry A. Neyland — painter, sculptor, illustrator, and...

Each with flower carved cartouche back, padded arms, serpentine seats and cabriole legs

A fine and rare Louis XV Carved walnut and oak commode France Mid-18th century The shaped top over a bombe case with three carved drawers all resting on carved feet. Height 39 in....

A Fine Louis XV Ormolu mounted Tulipwood, Kingwood & Parquetry Collectors Cabinet Mid 18th Century Attributed to Jean-François Oeben The shaped marble top over a shaped cabinet with tulipwood, kingwood & parquetry throughout, with tambour shutters revealing a re-fitted interior with 6 graduating drawers, all over four cariole legs ending in gilt bronze sabots. Height 41 in. Width 38 in. Depth 20 in. Jean-François Oeben, ébéniste du roi in 1754 and maître in circa 1761. Jean-François Oeben was a sub-tenant of charles-joseph boulle (1688–1751) in the galleries of the louvre from 1751, and in 1754 was granted lodgings at the gobelins and then at the arsenal in 1756. he was appointed ebéniste du roi in 1754 and was therefore able to work outside guild restrictions. he was a protégé of the marquise de pompadour, the marquis de marigny and the duc de choiseul. his identifiable works span less than ten years. his earliest pieces are in the louis xv style (e.g. small table, 1756–8; munich, residenzmus.), and he seems even to have completed some pieces started by jean-pierre latz (e.g. pair of corner cupboards...

John Edward Costigan, N.A. American, 1888-1972 Bathing Group Oil on canvas board Signed ‘J.E. Costigan N.A.’ lower left 12 by 16 in. W/frame 20 by 24 i...

“I Will”, Marie-Joseph-Leon-Clavel French, 1850-1923 Septembre, La Meuse a Dordrecht Oil on canvas, Signed 13 ¼ by 19 ½ in. W/frame 23 ¼ by 29 ½ in. Marie-Joseph-Leon-Clavel took ...

Rose Ann Day American, born 1949 Still Life of Pueblo Pottery Oil on board 12 by 16 in, w/ frame 18 ¾ by 22 ¾ in Signed lower left

Alice R. Comins American, 1861-1943 The Valley, York Maine Oil on canvas 20 by 26 in. W/frame 27 by 33 in. Signed lower right and dated 1913 & titled on r...

Juan Giralt-Lerin Spanish, born 1907 Carriage Scene Oil on canvas 12 by 16 in, w/ frame 19 by 23 in Signed lower right

Francois Gerome French, 1895 Parisian Lady with Tea Oil on canvas 9 by 12 in, w/ frame 15 by 18 in Signed lower right Francois Gerome was born in Budapest in 1895. He attended the ...

Maurice Sterne American, 1878-1957 On the Ganges Oil on canvas 28 by 31 ¼ in, w/ frame 35 by 38 ¼ in Signed lower right Maurice Sterne studied with Thomas Eakins at the National Ac...

Georges Damin French, b. 1942 La Gentilhommiere Bar Oil on canvas 9 by 27 in, w/ frame 16 by 34 in Signed lower right

Bernard Taurelle French, born 1931 L’eau Tiède Oil on canvas 28 ¾ by 36 ¼ in, w/ frame 36 ¼ by 43 ¾ in Signed lower right Bernard Taurelle graduated college at 19 with a degree in ...

Jean Pradel French, 1835-1892 Port de Peche Mediterranean Oil on canvas 23 ¾ by 39 ⅝ in, w/ frame 33 ⅝ by 49 ½ in Signed lower right He exhibited in many salons including the Unive...

John Von Wicht American, 1888-1970 Abstract Composition Oil & mix media on Paper 19 by 25 in. W/frame 30 ½ by 36 ½ in. Signed lower right Johannes Von Wicht was born in Malente, ...

William Thornley French, 1857-1935 Barques De Peche Echouees Sur La Plage Oil on canvas 25 by 32 in, w/ frame 33 ½ by 40 ½ in Signed lower right William Thornley was born in 1857 i...

Dietz Edzard German, 1893-1963 Les Enfants Du Paradis Oil on board 23 ¾ by 33 ¼, w/ frame 32 ½ by 42 ¼ in Signed lower right Dietz Edzard was born in Bremen in 1893 Germany. He tra...

Peggy Reventlow American, 1915-2014 Abstract in Blue Oil on canvas 36 by 48 in, w/ frame 38 ¼ by 50 ¼ in Signed verso Reventlow studied at Le Cours Maintnon in Paris and at Le Coll...

Pierre Roussel French, 1927-1995 Looking Through the Window Oil on Canvas 21 ½ by 28 ¾ in, w/ frame 29 ¼ by 36 ½ in Signed lower right

Émile Marie Beaume French, 1888-1967 Corsican Shore Oil on Canvas 18 ⅛ by 21 ⅝ in, w/ frame 25 ½ by 29 ¼ in Signed lower right French painter, lithographer, engraver and fresco art...

Cesar Villacres   Ecuador, 1880–1941 Flower Seller, Paris Cesar Villacres was an Ecuadorean artsit that worked in South America & Paris. He exhibited i...

A Louis XVI Style Bronze Crystal Chandelier 19th Century Height 30 in. Diameter 28 in.

The yellow and pink fossil marble top above a rocaille and foliate pierced apron on cabriole legs with scroll feet.

A fine English William IV Carved bird's-eye maple and rosewood centre table, circa 1835 Fitted with a inlaid scagliola top.   measure: Height 29 in x diameter 42 in.   Prov...

Bernard Lamotte French, 1903-1983 Parisian Cafe Oil on canvas 36 ¼ by 48 ¼ in, w/ frame 41 by 53 in Signed lower right Born in Paris, on the Boulevard de Vaugirard in 1903. Bernard...

Bernard A. Kohn American, 1905-1989 The Great Spirit in the Sky Oil on board 30 by 45 in, w/ frame 35 ¼ by 50 ½ in Signed and dated 1958 Bernard A. Kohn was born on the 21st of Nov...

John Ivar Berg Swedish, 1916-2003 Sunlight on the Water Oil on Canvas 32 ¼ by 38 ½ in, w/ frame 32 ¾ by 39 in Signed lower right John Ivar Berg was a Swedish artist who studied at ...

A Fine Louis XVI Parisian Mahogany Marble Top Commode 18th Century The molded rectangular grey marble top above three drawers with bronze handles and escutcheons ,on square legs ...

Of typical form with shaped wings and cabriole legs ending in pad feet

Height 49 in.

A Fine Early Louis XV Walnut Fauteuil 18th Century Attributed Pierre Nogaret Maitre June 1745 Height 41 in Width 26 in Depth 22 in Cha51

A Fine German Baroque Walnut Parquetry Commode Circa 1680-1720 The serpentine top with various wood parquetry designs throughout over a sh...

A Fine Louis XVI Mahogany Leather Top Table Attributed to Canabas Joseph Canabas maitre 1766 Height 28 in. Width 27 in. Depth 17 in. Tab84

An Important Neoclassical Style Bronze Cut Glass & Tole Peinte Eight Light Chandelier With scrolling candle arms and faceted tole panels painted wit...

A Unique Vase Signed Michele Luzoro Height 14 in. Founded in 1977 Verrerie d’art Luzoro is a small studio in Biot, a littl...

A Set of Four North Italian Neoclassic Cream Painted Parcel Gilt Armchairs Late 18th Century Upholstered in cream leather Height 39 in. Width 24 in. Depth 19 in. Provenanc...

Gaston Sebire French, 1920-2002 At The Seaside Oil on canvas 25 by 31 in. W/frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

A Fine Pair of French Bronze Classical Figures Now Mounted as Lamps By Louis Valentin Elias Roberts French 1821-1874 Signed. L.V.E. Robert, each a ...

Carl Carlsen Danish, 1855-1917 Figures in the Forest Oil on canvas Signed and dated ‘Carl Carlsen 1900’ lower right 24 ½ by 30 ½ in. w/frame 31 by 36 i...

LOUIS GRANER Y ARRUFI (Spanish, 1863-1929) The Glow 1923 oil on canvas Signed & dated 23 lower left In a Fine Giltwood Carved Frame 33 by 25 ½ in. W/frame ...

Each with a molded cornice above a pair of diamond mullioned glazed doors opening to a shelf, over two a pair of drawers, raised on square legs headed by pierced brackets, painted wi...

Remarks: In original conditioned never electrified

Oil painting on canvas Ready for hanging :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: S...

A fine pair of small Louis XVI Carved giltwood console tables 18th century Each with a D-shape white Carrara marble top, above the guilloche-carved frieze, one centered by a wove...

Frank Will French 1900-1950 Place de la Madeleine Watercolor on paper 18 by 21 in. w/frame 25 by 27 in. Signed lower left Son of painter Frank Myers Boggs. A Figure from montmatr...

A Rare French Elm, Walnut and Pearwood Stepback Cupboard with Clock From Bresse Region of France 18th Century Height 101 in. Width 59 in. Depth 24 in.

Émile Valentin Cardinal French, 1883–1958 Aux Cafe Oil on canvas 25 by 21 in. W/frame 34 by 30 in. Emile exhibited at the Salons in Paris b...

A Brass-Mounted Rosewood Campaign Armchair Signed and Dated 1909 The turned collapsible frame with leather seat and footrest, the back stretcher wi...

A Russian Neoclassical Brass Mounted Mahogany Commode Early 19th Century The rectangular faux marble top with outset square corners, above a conforming case fitted with three long graduated drawers, flanked by fluted stiles headed by roundels and ending in tapering square feet. Height 31 1/4 in. Width 41 in. Depth 20 1/2 in. Provenance: Private Collection, New York Le Trianon Fine Art & Antiques...

Aime Victor Barraud Swiss, 1902–1954 Still Life with Flowers in Ceramic Jug Oil on canvas 20 by 20 in. Wframe 26 ½ by 26 ½ in. Signed & dated 39...

A Bronze Figural Group of Rams Signed Jules Moignez The four figures standing on a naturalistic base having a golden patina Jules Moignez began...

A fine pair of empire patinated & gilt bronze Candelabre, mounted as lamps 1st quarter of the 19th century Each reeded stem above drum base relief-cast with four putti on leaf-b...

Each with a carved apron

The square box with slant top fitted with pin cushion surrounded in parquetry of stained walnut, on toupie feet

A Pair of Large Italian Gilt and Painted Wood Figures of Candle bearing Angels 16th Century Each carved with long wavy hair, each clad in a long robe, with their heads slightly til...

An Italian Walnut Veneer Credenza 18thcentury later The rectangular moulded top above two short panelled drawers with knob handles, and a pair of doors with rosette-car...

Itzhak Ofer (Polish, 1910-1988), sculpture, mahogany, “embracing couple”, signed on base, "OFER", 25" h. x 12 1/2" w. x 9 1/2" d. including base. Itzhak Ofer was a Sculptor. b. 1910, Poland. Immigrated 1935. Studies: 1941-45 American University, Cairo, plastic arts and drama. Prize: 1968 Public Council of Culture and Art for Best Play. 1981 Initiated and directed a competition of Environmental Sculpture, Ramat Gan...

A Rare Regency Walnut X Frame Window Seat Possibly Russian Early 19th Century With carved eagle heads over a X stretcher with guilloche carvings and a central medallion. Height 27...

A Pair of Gilt Cast Iron Wall Fountains 19th Century Height 26 in Width 13 in. Provenance: Property of the estate of Actress Syvia Sydney,LA Arc119 $2,800

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

Charles Charlay-Pompon French, 1854-1914 French Countryside Oil on canvas Signed lower right 11 by 21 in. w/frame 16 ½ by 26 ½ in. Charles Charl...