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  Otis Oldfield, Water Pipes and Shadows, Oil on Canvas c. 1920

  OTIS OLDFIELD (1890-1969) USA

  “Water pipes and shadows” c. 1920

  Oil on canvas, walnut frame

  Signed: Otis Oldfield (lower left)

  For more information see: Otis Oldfield 1890-1990, Centennial retrospective exhibition (San Francisco, CA: Inkwell Publishing, 1990).

  Painting: H: 16 1/8” x W: 13”
  Framed: H: 28 ¼” x W: 25 1/8”

  Price: $42,500
  ***The Metropolitan Museum of Art in New York owns a famous Gelatin silver print photograph by Morton Schamberg from 1916 entitled “God”. This image is akin to Duchamp’s “Fountain” and is an iconic Dadaist assemblage of plumbing pipes mounted on a miter box. The “Water Pipes and Shadows” painting by Otis Oldfield similarly brings a certain animation and personality to an under sink composition of mundane drain pipes in a sophisticated “Rayonist” or “Cubist” stylization. Otis Oldfield was born in Sacramento, California in 1890. He enrolled in the Best Art School in San Francisco in 1909 and continued his studies at the Academie Julian in Paris. Returning to the U.S., Oldfield settled briefly Sacramento before returning to San Francisco to accept a post as a teacher at the California School of Fine Art. Oldfield developed a bold modernist style, which caused some controversy among critics covering his exhibits. In 1936 Oldfield was one of a group of San Francisco artists chosen for a WPA project to paint murals in San Francisco’s Coit Tower. Following WW II, Oldfield taught at the California College of Arts and Crafts in Oakland. He died in San Francisco in 1969.

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  Asprey & Co., Important Cardinal Sculpture gem set with natural rubies, 18K gold and amethyst quartz, signed,1980

  ASPREY & CO. LTD. (founded 1781) London, UK

  Important Natural Ruby Gem Set 18K Gold Cardinal Bird Sculpture   1980

  Finely chased and chiseled 18K yellow and white gold realistically rendered sculpture of a Cardinal bird set with
  85+ carats (approx.) of natural gem quality oval and round cut Burmese rubies (GIA certificate) further heightened with enamel eyes and blackened gold face plumage details, the 18K gold and natural ruby cardinal sets atop a natural Amethyst crystal “mountain rock” with a tooled and gilt (script mark) on the leather under-pad.

  Marks: A & Co. (in a quatrefoil), Crown mark, 750 (gold standard mark) Lion’s head (London assay mark) “F” date mark for 1980, tooled and gilt Asprey (script mark) on the leather under-pad

  Provenance: Privately commissioned by the Sultan of Brunei’s younger brother, Prince Jefri Bolkiah who also later became the owner of Asprey & Co in the 1995. This rare sculptural 18K gold and natural ruby Cardinal was handmade by the finest jewelers and work masters in the workshop of the London Asprey & Co. located above the flagship store at 167 New Bond Street.

  H: 3 ¾” x L: 5 3/4” x W: 1 ½”(Cardinal only)
  H: 6” x W: 6 ¾” x D: 5 ¾” (with Cardinal atop natural Amethyst crystal rock)

  As one might guess, a large part of the animal symbolism of the cardinal comes from the brilliant red color of the males. In fact, its name is derived from the royal red vestments worn by Catholic cardinals. This shock of red, especially against the stark backdrop of winter snow, is a magnificent sight. The male cardinal reminds us passion, warmth and vibrancy is available to us – even under the cloak of Winter’s grey clouds. Interestingly, the more bold and bright his color is, the more successful the cardinal will be at prolonging his lineage. Dull colored male cardinals are less likely to mate successfully than bright colored ones. True to the fire of his color, the crimson cardinal has got some major spunk. He will aggressively defend his territory, and fight attackers with ferocity. Indeed, they have been known to fight ghost males (their reflections) in mirrors for hours on end. Both male and female give us glorious songs. Along with peeps and pips and warbles, the tuned ear can also hear “cheer, cheer, cheer!” Very appropriate to the animal symbolism of cardinals, because they are a delight to both eyes and ears. The cardinal makes a fantastic animal totem. It reminds us to hold ourselves with pride, not ego pride but rather the cardinal asks us to stand a little taller, be a bit more regal and step into our natural confidence as if we were born to lead with grace and nobility. Those who attract the cardinal as their totem are naturally energetic, love life, and happily help others where and when they can!

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  Arthur N. Colt, “The Wrestlers”, Oil on canvas c. 1938

  ARTHUR N. COLT (1889-1972) USA

  The Wrestlers c. 1938

  Oil on canvas

  Signed: A. N. Colt in lower right corner

  For more information on Colt see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 1985). p.125. Hove, Arthur, ed. Wisconsin Alumnus Vol. 61, No. 9 (January 1960), “Portrait Patterns” Art Digest v. 9 (December 15, 1934) p. 7

  Canvas:   H: 29 ½” x W: 34”

  Framed: H: 38 ½” x W: 43”

  Arthur Colt studied painting at the Art Institute of Chicago and in Paris. He was not only an important Wisconsin painter but also an influential teacher. He taught at the University of Wisconsin, Madison, founded a summer art colony at Black River and Devil’s Lake, WI and went on to form the Colt School of Art. Arthur Colt exhibited at the Madison Salon of Art Exhibition in 1934.

   

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  Jan de Swart, Handcarved “Peach” Sculpture, c.1970

  JAN DE SWART (1908-1987) Netherlands / USA

  Peach sculpture  c. 1970

  Hand carved and formed jelutong wood in a symbolic / erotic form of a peach

  For more information see: Jan de Swart: A Day That Becomes a Lifetime, exhibition catalogue (California: Fine Arts Gallery at the San Fernando Valley State College, February 1972); Jan de Swart, Mike McGee and William G. Otton (Laguna Beach, California: Laguna Art Museum, 1986).

  H: 7 ½” x D: 4”

  Price: $7,500

  Constantly seeking and inventing new materials Jan de Swart was a true modernist.  He was influenced by artists such as Isamu Noguchi, Harry Bertoia, Charles Eames, and later Sam Maloof and Wendell Castle.  Although he had been creating small sculptures since his arrival in California from Holland in 1929, he had not been widely recognized until being introduced to John Entenza, publisher of Arts & Architecture magazine in 1947.  Soon thereafter, he was able to create larger works and began collaborating with architects such as Whitney Smith and Victor Gruen on special commissions.  His work is in the permanent collection of Los Angeles County Museum of Art, The Smithsonian, and the Ford Foundation.  He was honored with the American Institute of Architects Gold Medal for Sculpture in 1965.