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  Pedro de Lemos / Art Deco Orange glazed American Pottery Clydesdale Horse Sculpture c. 1930

  PEDRO DE LEMOS (1882-1945) Bay Area, California

  Clydesdale horse sculpture c. 1930

  Hand modeled orange glazed terra cotta.

  Marks: De Lemos Palo Alto (sticker on the bottom), various pencil notations on the foot bottom

  H: 9 1/8″ x D: 3 1/2″ x W: 9 1/2″

  Pedro Joseph de Lemos (25 May 1882 Austin, Nevada – 5 December 1945) was an American painter, printmaker, architect, illustrator, writer, lecturer and museum director. He started his art career in the Bay Area. He studied under Arthur Frank Mathews at the Mark Hopkins Institute of Art in 1900, later was a student of George Bridgman at the Art Students League in New York and of Arthur Wesley Dow at Columbia University Teachers College. The influence of traditional Japanese woodcuts is clearly seen in his work.

  Pedro’s father Francisco, a cobbler, emigrated from the Azores in 1872, and settled in Oakland, California where Pedro was educated. Pedro and his brothers Frank and John all followed careers in art. Pedro was employed by Pacific Press Publishing Company between 1900 and 1906, afterwards starting the Lemos Illustrating Company with his brothers in 1907. Later this became known as the Lemos Brothers Art and Photography Studio, which offered art classes in copper, leather and landscaping as well as the traditional media of drypoint, etching and illustrating.

  Lemos worked from a studio overlooking Lake Merritt and taught art at the University of California, Berkeley, working at the same time as illustrator and designer and giving classes in decorative design and etching at the San Francisco Institute of Art, where he had earlier studied when it was the Mark Hopkins Institute. He helped found the California Society of Etchers and an aqua print of his was acclaimed at the 1915 Panama-Pacific International Exposition, for which he helped organise the California print exhibition. He filled the position of Professor of Design at Stanford University and became director of the Stanford University Museum of Art in 1919. Besides being the first president of the Carmel Art Association, he was an affiliate member of several art organisations such as the California Society of Etchers, the California Print Makers, the Palo Alto Art Association, the Chicago Society of Etchers and the Bohemian Club. In 1943 he was elected a Fellow of the Royal Society of Arts in London.

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  Forrest “Frosty” Myers Orange cube 2008

  FORREST (FROSTY) MYERS (1941- ) USA

  Orange cube 2008

  Orange anodized and contoured aluminum wire manipulated into a cube form

  Signed: Orange Cube, 08, Forrest Myers (on plaque)

  For more information see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 2003-2004 25^th Edition), Dictionary of American Sculptors: 18^th Century to the Present, Glen Opitz (Poughkeepsie, NY: Apollo, 1984).

  Dimension: 10 1/2″ cube

  Price: $15,000

  A sculptor and art teacher born in Long Beach, California, Forrest Myers settled in Brooklyn, New York. Myers studied at the San Francisco Art Institute. His teaching venues include the San Francisco Art Institute, School of Visual Arts in New York, Kent State University, and the Parsons School of Design. His studio is in Brooklyn.

  In the early 1980s, Forrest Myers was applying Buckminster Fuller's principles of tensegrity and repeated tetrahedrons into his designs for furniture. This exploration culminated in the use of aluminum wire that becomes structural when bent and pressed into a dense tangle.

   

   

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  Walter Paul Suter, American Art Deco glazed pottery sculpture 1929

  WALTER PAUL SUTER USA

  AMERICAN ENCAUSTING TILING CO. New York, NY

  Art Deco Seated Female Figure with Draped Skirt and Holding an Art Deco Vase 1929

  Hand-modeled and molded cream glazed earthenware figure with gold and silver details on a separate, but matching black glazed earthenware base.

  Signed: SUTER ‘29 (under glaze on back right hand corner)

  H: 13″ x D: 7 1/2″ x W: 9″

  Price: $14,500

  Walter Paul Suter was born in Basel, Switzerland in 1902 and studied there at the School of Fine and Applied Arts. He moved to the United States in 1924 and settled in New York. He was a member of the American Ceramic Society, as well as the Society of Swiss Painters, Sculptors & Architects. In 1932 Suter won first prize in the Robineau Member Exhibition in Syracuse.   He was a member of the American Encaustic Tiling Company in NYC.

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  Aztec AD 1325-1475 Important stone carved sculpture of a coiled serpent

  AZTEC AD 1325-1475 Mexico.

  Important stone carved sculpture of a coiled serpent, AD 1325-1475 Mexico.

  ***Two scientific authentication reports are available with this sculpture.

  H: 10″ x D: 8″

  The serpent played a very important role in Aztec religion and was represented in a variety of forms. The majority of the serpents represented in Aztec sculpture are rattlesnakes.

  Mexican mythology indicates the snake is a symbol of veneration, worship and honor.  Often a symbol of great power, resurrection and rebirth, the snake continues to be a powerful emblem of renewal and transition.
  Further, the snake is recognized as a symbol of humanity as a whole.  Interestingly, the Mexican perspective provides hope for mankind to aspire to great heights as it correlates the shedding of the serpent’s skin to man’s ability to change his own circumstances and overcome adversity.

  The Aztecs build an impressive empire in the valley of Mexico. This thriving area, known as Tenochitlan, was the cultural, religious and trading center of Mesoamerica. Aztecs were the Native American people who dominated northern Mexico at the time of the Spanish conquest led by Hernan Cortez in the early 16th century. According to their own legends, they originated from a place called Aztlan, somewhere in north or northwest Mexico. At that time the Aztecs (who referred to themselves as the Mexica, or Tenochca) were a small, nomadic, Nahuatl-speaking aggregation of tribal peoples living on the margins of civilized Mesoamerica. Sometime in the 12th century they embarked on a period of wandering and in the 13th century settled in the central basin of México. Continually dislodged by the small city-states that fought one another in shifting alliances, the Aztecs finally found refuge on small islands in Lake Texcoco where, in 1325, they founded the town of Tenochtitlan (modern-day Mexico City). The term Aztec, originally associated with the migrant Mexica, is today a collective term, applied to all the peoples linked by trade, custom, religion, and language to these founders. Warriors and pragmatic builders, the Aztecs created an empire during the 15th century that was surpassed in size in the Americas only by that of the Incas in Peru. As early texts and modern archaeology continue to reveal, beyond their conquests and many of their religious practices, the Aztecs had many positive achievements: the formation of a highly specialized and stratified society and an imperial administration, the expansion of a trading network as well as a tribute system, the development and maintenance of a sophisticated agricultural economy (which was carefully adjusted to the land) and the cultivation of an intellectual and religious outlook that held society to be an integral part of the cosmos.