Europe and the Americas

Abstract Multi Gemstone, 18K Yellow Gold Earrings by Ed Wiener (1918-1991)


Abstract pair of 18K yellow gold and multi-coloured gemstone drop earrings by Modernist Ed Wiener (1917-1991).  Each features 10 faceted gemstones, including:  tourmalines, garnets, citrine, peridot, amethysts, and blue topaz.   They match a signed brooch/pendant by Ed Wiener, but are not marked. 

2 x 1 inch

5.08 x 2.54 cm


Abstract Multi Gemstone, 18K Yellow Gold Brooch by Ed Wiener, (1918-1991)

Abstract 18K yellow gold brooch/pendant by Modernist Ed Wiener, features a geometric arrangement of sixteen colorful gemstones (seven rectangular-cut tourmalines, four rectangular-cut garnets, one rectangular-cut citrine, one cushion-cut peridot, two emerald-cut amethysts and one emerald-cut blue topaz) mounted with ball beads and raised from a gold surface encrusted with miniature gold beads. May be worn as a pendant or a brooch.  C. 1960,  2.06 x inches by 1.76 inches.  Stamped ‘Ed Wiener 18K’. c. 1960

2.06 x 1.76 inches

5.23 x 4.44


BG-199-OP-1, Led Zeppelin and Rolling Stones


Original Bill Graham First Printing, BG-199-OP-1, Led Zeppelin and The Rolling Stones, Fillmore Auditorium, San Francisco and The Oakland Coliseum, Oakland, CA, November 6-9, 1969, Artist – Randy Tuten



Oil on Canvas, “In Ceret”, by Arbit Blatas


“In Ceret”, by Arbit Blatas, oil on canvas, c. 1948.

Arbit Blatas (1908-1999) was a Lithuanian born artist who, at age 21,  became the youngest member of “The School of Paris” in 1929 and by the age of 24, sold several of his works to the Galerie Nationale du Jue de Paume.  Over the next several years, he painted and cast in bronze all of the members of the School of Paris, which now reside in the Nationale Galerie du Jue de Paume.

In 1941, he emigrated to the United States where he became a citizen.  After WWII, he spent most of his life between the United States and France.  In 1948, he returned to France where he stayed and painted for two years before retuning to the United States.  While in France, he spent time and painted in the town of Ceret, in the foothills of the Pyrenees mountains, where this piece was created.

He later met and married Regina Reznik, the Metropolitan Opera star, and spend the last several decades of his life  working with her and designing sets for the opera.  Among his accomplishments and awards were:

  • 1947 – Elected life member of the Salon D’Automne (France)
  • 1978 – Chevalier de la Légion d’honneur ( France )
  • 1980 – Gold Medal “Venezia Riconoscente” – presented by Mayor Mario Rigo
  • 1982 – Medal of Masada (Israel)
  • 1982 – Special Honor of the City of New York
  • 1987 – Commandeur – Médaille de Vermeil (City of Paris)
  • 1993 – Gold Medal of Honor, City of Venice ( Italy ) – presented by the President of Italy
  • 1993 – Presidential Medal of Italy
  • 1994 – Officier de la Légion d’honneur (France)
  • 2008 – Commander Cross of the Order of Merit of Lithuania (Posthumous)

In the painting, which appears to mix the work of Vincent van Gogh and Edvard Munch, a woman wearing a bonnet stands in the middle of a shadowed,  narrow, tree lined street, with a bright blue sky visible above the branches.  One large tree behind her cuts diagonally across the image from the lower left to the upper right.  Simple flat buildings, three and four stories high, line the dark street behind her, diminishing in perspective, until sunlight hits a building in the distance and bright yellow, like a light at the end of a tunnel, is framed behind her.  Villagers are going about their daily business, walking across the street or sitting outside buildings along the walkways.

The time shortly after WWII, was a period of rebuilding and hope in Europe and that is what this image seems to project, with the gloomy shadows leading to the light at the end of the street.  What is not visible until closely examined under brighter light, are two figures standing next to the woman that have been removed by the artist, leaving only a faint shadow of their former image, one of a soldier standing with a rifle and the other a youth.  Is the woman lamenting her losses from the war as others go about rebuilding their daily lives?  Only Blatas knew for sure.

This painting was exhibited in a multiple artist showing at the Pierre Matisse Gallery in New York in 1951 and was the featured painting by Blatas.  It was exhibited again in 1961 in San Francisco at The Maxwell Gallery and once again, was the featured painting by Blatas.

Another painting, slightly smaller, but of the same street, was painted by Blatas and now resides in the Musee d’Art Moderne de Ceret.

37 x 25 inches

94 x 63.5 cm

Price Upon Request

His work is held in the following museums:

United States:

Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; Carnegie Institute, Pittsburgh; Newark Museum; Montclair Museum; Wichita Art Museum; Rochester Museum; Virginia Museum; Delgado Museum, New Orleans; Palm Springs Desert Museum; Museum of the City of New York; National Portrait Gallery, Smithsonian Institution, Washington, D.C.


Jeu de Paume; Musée de l’Orangerie; Musée Georges Pompidou; Musée de Grenoble; Musée de Céret; Musée Bourdelle; Musée de Boulogne-Billancourt


Jerusalem Museum; Tel-Aviv Museum


Museo d’Arte Moderna; Ca’ Pesaro, Venice


Musée des Beaux-Arts, Lausanne


National Museum, Cardiff

Theodokis Hodegetria (Mother of God) Wooden Icon, Crete, 16/17th Century

In 1453, the capitol of the Byzantine empire, Constantinople (also known as New Rome), was captured by Mehmed the Conqueror, the seventh Sultan of the Ottoman Empire. This effectively ended the 1500 year rule of Imperial Rome. And it ended the dominance of Constantinople as the Byzantine art center. Many artisans fled the city to relocate in Crete, an island controlled by Venetians, where the Cretan school was already producing art in the Byzantine style. Soon after Constantinople’s fall, Crete emerged as the most important centre of art in the Greek world for the next 250 years. Towards the end of this period, the demand was so great that rather crude examples were produced in great quantity to meet their demand.

This icon in the Byzantine style, is called Mother of God Hodegetria, after the first known example of this image type in the Hodegon Monastery in Constantinople. In this particular icon, the face of the Christ child does not come into contact with the Holy Mother’s face. It is difficult to clearly identify the origin of this tempera on wood icon, but it probably was produced in Crete between the 15th and 17th centuries, however it clearly has traits exhibited by Russian Pskov icons of the 16th century.  Crete, 16/17 century

11.25 x 8.5 inches

28.6 x 21.6 cm


Painted Wooden Icon, Mother and Child, Ukraine, 19th Century

Ukrainian Icon of the Holy Mother and the Christ Child painted with tempera on a wooden panel, 19th century

11.5 x 8.25 inches

29.2 x 21 cm


Gay Nineties Cartoon, “The Dude” by Richard Vincent Culter

“The Dude”, a charcoal drawing for Life Magazine series, The Gay Nineties by Richard Vincent Culter, c. 1926

16 x 19.25 inches

49.6 x 48.9 cm


The Gay Nineties

By Michael B. Scanlan

About 10 years ago, my wife and I stumbled upon an estate sale on the outskirts of Seattle.Inside the house, a large portfolio was laid open, displaying a charcoal illustration of young adults playing croquet.It was a rather large illustration, about 18 x 15 inches in size, and had an interesting signature in the corner that appeared to read, RV Culter.The artist had clearly drawn the scene with a very loose hand, but the facial expressions of all of the figures were perfectly captured, and the perspective of the players purposefully introduced the viewer to their game.

The whole image has been divided horizontally, with the forecourt left almost untouched, to represent the lawn and to boldly contrast against the main character’s silouette.The upper half, on the other hand, displays a detailed background that gradually fades and nearly disappears, forcing the viewer to immediately focus is on the main character in the forecourt – a young woman standing in a long flowing skirt, facing her opponents with her back to the viewer.

Her restrained profile and statuesque figure suggest feminine innocence, as she awaits her next turn. Meanwhile, the taunting smile on the nearest man suggests he will ignore the forlorn look on another player, as his mallet, held high above his head, prepares to propel her ball as far as possible from the field of play. The final player seems amused as he watches from the farthest wicket, while an elderly couple watches the contest seated from a nearby bench  of a stately home.

The drawing was genuinely amusing and brilliantly designed.

The paper was quite thick and in excellent condition, however had a slight yellowish cast, which I initially mistook for age or water damage, but later learned was a thin layer of varnish to seal the charcoal. On either side of the drawing were publishing marks to align images for reproduction and on the verso were several hand-written numbers and a copyright notice for LIFE PUBLISHING COMPANY. A small piece of paper had been glued to the back to display the artist’s conceptual statement, which read:

“The Gay Nineties.

The styles of the day sometimes proved a factor in the popular game of Croquet.For instance – the modish lady in the foreground, in strolling about awaiting her turn to play, has happened to drag her skirt across the ball, leaving it – by the merest prank of Fate – in a much better position for her next wicket.”

The portfolio contained 16 illustrations by Culter which had all been published in Life.Handwritten in pencil on the inside of the portfolio was “Charles Dana Gibson”.The exterior had only a few remnants of the original leather, but otherwise was in good condition. The center of the front cover was deeply impressed with “THE GAY TWENTIES”.

Beneath the first drawing were 15 more of Culter’s drawings humorously recording glimpses of American lifestyles at the end of the 19th century. One by one, I picked up each piece and admired the wit and perception displayed by Culter, as family events, fashion trends, actors, statesmen, soldiers, musicians, and new-fangled gadgetry all were cast with his unique, tongue-in-cheek imagery. Along with the illustrations was a very brief synopsis of his association with Life Publishing, which began in the Spring of 1925, when, along with three of his drawings, went into the offices of Life Publishing in New York to meet Charles Dana Gibson, the magazine’s owner and publisher; Robert Sherwood, the editor; and Frank Casey, the art editor. Each of the drawings humorously captured everyday scenes and people from his childhood memories, which Culter referred to as “The Gay Nineties”.

While Gibson and his editors admired Culter’s works, they were skeptical the general public would appreciate them as they represented a bygone era, however agreed to publish all three. To their great surprise, “The Gay Nineties” was an instant hit and immediately became a weekly addition to Life.

By 1927, Culter’s following had become so great, The Life Publishing Company reproduced 70 of his illustrations in a book titled, “The Gay Nineties – an Album of Reminiscent Drawings by Richard Vincent Culter”. People of all ages and from all walks of life were captured through Culter’s gifted mind and talented hand, reflecting the less hectic, and somewhat more joyful, days gone by.

Tragically, 45-year old Richard Vincent Culter died unexpectedly in January of 1929, leaving an unfulfilled legacy of his timeless humor and artistic talents.

Apparently, the portfolio I found in Seattle had originally contained all of the 70 drawings by Culter and was the personal property of Charles Dana Gibson.With newfound interest, I looked again at the drawings and continued to smile, seeing things I’d missed the first time.Each of the drawings was priced individually, and even after 30 or 40 minutes of admiring, it was still impossible to choose my favorites, so I successfully negotiated for all of them.They went into a large plastic sleeve to protect them where they still remain.

Even today, more than 10 years after acquiring them, I still love to carefully review and critically analyze each piece, as I’ve done dozens of times, yet still can’t pick my favorite, but I have finally narrowed it down to the top ten.

Thank you, Mr. Culter,  for keeping your youth alive.

Gay Nineties Cartoon, “Show People” by Richard Vincent Culter

“Show People”, a charcoal drawing for Life Magazine series, The Gay Nineties by Richard Vincent Culter, c. 1926

15.5 x 17.5 inches

39.4 x 43.2 cm


Gay Nineties Cartoon, “Bootblack Changes” by Richard Vincent Culter

“Bootblack Changes”, a charcoal drawing for Life Magazine series, The Gay Nineties by Richard Vincent Culter, c. 1926

15.5  x 18 inches

39.4 x 44.7 cm


Gay Nineties Cartoon, “World’s Fair” by Richard Vincent Culter

“World’s Fair”, a charcoal drawing for Life Magazine sewries, The Gay Nineties by Richard Vincent Culter, c. 1926

14.25 x 16 inches

36.2 x 40.6 cm


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