Gustav Gurschner (Austria 1873-1970) An Austrian Art Nouveau gilt bronze and glass telescopic floor lamp, designed by Gustav Gurschner. Lamp features a blue iridized oil spot Loetz glass shaft and dome base. Further decorated with gilt bronze Art Nouveau floral and figural decoration throughout. Complete with a Loetz decorated iridized mushroom form shade. Fitted with three bulb outlets and wired dimmer. Artist Bio: Gustav Gurschner was a German-born Austrian sculptor whose work combined of Art Nouveau and Wiener Werkstätte aesthetics to create lamps, ashtrays, door knobs, and other functional objects. Featuring the swooping, organic lines typical to the Art Nouveau movement, his objects are distinctly ornate and decorative, as seen in his large Figural Bronze Lamp of a woman carrying a lantern. Born on September 28, 1873 in Mühldorf, Germany, Gurschner went on to study at the School of Applied Arts in Vienna in 1888. He developed an interest in Art Nouveau after visiting Paris in 1897, and later exhibited with the Vienna Secession—a group of Austrian artists who had resigned from the Association of Austrian Artists—which included the artists and designers Gustav Klimt and Koloman Moser. Today, Gurschner’s works can be found in the collections of the Cooper Hewitt Museum in New York, the Corning Museum of Glass, and the Petit Palais in Paris. He died on August 2, 1970 in Vienna, Austria. Gurschner studied under August Kühne and Otto König at the Kunstgewerbeschule in Vienna, and under Valgrin in Paris. He married the writer Alice Pollak in 1897. In 1898, he participated in the inaugural exposition of the Vienna Secession. From 1904 to 1908, he was part of the Hagenbund, a group of like-minded Austrian artists. CIRCA: Early 20th Ct. ORIGIN: Austria DIMENSIONS: H: 63″ x D: 13″ Diameter of Base: 16″
A. Zanetti Murano glass bird themed sculpture. Featuring a stunning vibrant multi-colored avian scene. Designed with ten removable perched garden birds on a thick green hued glass branch. Incised signature at base “A. Zenetti” Signed “To Cathrine & Marc Berens, Italy 11 June 1989″ CIRCA: 1989 ORIGIN: Italy DIMENSIONS: H: 17.75″ x W: 11″ x L: 29″ CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.”
30×38, Oil on Canvas with Gold Leaf
Gallery: Trailside Galleries
Handmade parure made in Italy in the early 1900s in K 9 yellow gold. The jewels are embellished with rubies and pearls. Earrings: round and oval shaped rubies, 3.1 ct., Measures 45.8×27.6 mm, weight 17.13 gr. Collier: oval rubies 13.50 ct. And micro-pearl
A James Tandi large carved verdite and bone elephant statue. Featuring a naturalistic stone elephant with carved bone tusks. Titled: “Mazoe” by renowned wildlife sculptor James Tandi. composed of verdite, also known as the “green stone of Africa” A hardstone highly sought after by sculptural artists. Signed “James Tandi” at edge of base. CIRCA: 20th Ct. ORIGIN: Africa DIMENSIONS: H: 26″ x W: 23″ x L: 42″ CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email ([email protected]) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.”
Ancient Egypt, New Kingdom, 18th to 20th Dynasty, ca. 1549 to 1077 BCE. An incredible lower fragment of a meticulously detailed figure, perhaps depicting a man born of wealth or royal lineage, that is hand-carved from finely speckled granite with mottled hues of black, silver-grey, tan, and hints of fuchsia. The man has large hands and feet with delineated fingers and toes, sits on an integral stepped seat, and wears a pleated, knee-length skirt while clenching his right hand atop his thigh. The lower half of the dorsal pillar behind the figure’s back features half of a column of inscribed hieroglyphic text that is perhaps part of the identifying name for this ambiguous individual. Size: 5.875″ L x 4.2″ W x 6.375″ H (14.9 cm x 10.7 cm x 16.2 cm)
For a stylistically similar example of a fragmentary seated figure from just earlier in the 17th Dynasty, please see The British Museum, museum number EA69536.
Provenance: private East Coast, USA collection; ex-Norman Blankman collection, New York, USA, acquired in 1961
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Masoud Yasami (American, b. 1949), oil and acrylic on canvas painting entitled, “Composition with an Open Door”, dated 1990 CE. Signed and dated by the artist in the lower left corner, a brilliant contemporary painting by Masoud Yasami, an artist who creates abstract multi-dimensional compositions that magically orchestrate space and color resulting in remarkable works that play with physical illusions, walking a tightrope between reality and the supernatural, balance and chaos. Yasami constructs and transforms geometric shapes capturing scenes from the natural world juxtaposed in a seemingly unnatural yet surprisingly classical manner – in this case cloudy skies at sunset or sunrise, a flowing waterfall, a silhouette of a fern leaf, and a mesmerizing funnel-like vortex of white that one may interpret as a dramatic splash of whitewater, a surreal calla lily blossom, or a moving cloud form. Size: 68″ L x 60″ W (172.7 cm x 152.4 cm)
Adding to the theatrical quality of the composition are the overlapping blue and aqua bars on the lower right as well as the red and white cornered sheaths and blue bands below that appear to be cornering and/or interrupting the organic elements of the composition. Indeed the artist has stated, “For many years I have dealt with gravitational force as the drama in my work; for example creating the illusion of forcing a rod to bend or a sphere to fall out of its position of balance and harmony.”
The following is the artist’s statement on his artwork as presented on www.yasami.com: “My paintings are from an intuitive connection to understanding of both peace and upheaval. A wordless message through imagery by blending the natural beauty of disorder with the disciplined order of both balance and unity. Flawless compositions to draw your attention to the simplistic and the complex, an intellectual journey without losing the natural knowing of things. What is the message? Where does it originate from? I suggest, stay even in your experiences, be either uplifted by praise or grounded by criticism. Feelings kept in check to and tested to see if they are important enough to act upon and be accepted as seriousness. Clear and delicate observation supersede. Logical, intuitive solutions resolve personal conflict. With a backdrop of disabled symmetry, the foreground suggests necessary arrangement and rational organization to arrive at ones adaptation to the meaning of life. Natures necessary and seemingly erratic disorder is one in the same to perfect, symmetrical and geometric harmony. Gravity acts as a push rather than a pull and the images can relieve the viewer of the personal burdens of confusion. The brief moments that it takes for a sunset to occur and diminish can be experienced by human beings impacting lifelong inspirational sensations with disciplined restriction both necessary to stay in unification to the natural. With shadows being cast on the certainty of a determined outcome we are always at the mercy of there being an unexpected alternative. Certainty and sophistication teetering on the brink of unforeseen circumstances. The cycle of past experience and present existence continuously reflect on one another in the ever changing unpredictable way forward.”
Provenance: private Boulder, Colorado USA collection
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Lawrence “Ulaaq” Ahvakana (Inupiaq, b. 1946), ca. 1983. Signed “L. Ahvakana” in pencil on interior of mask. A hand-carved wooden spirit mask by Larry “Ulaaq” Ahvakana, presenting with an almost Cubist sensibility. Note how Ahvakana has rendered the visage as if we can see if from multiple angles and multiple points of view, and with one wide open eye and the other two almost closed as if to represent various states of being. Ahvakana’s signature clean lines and expressive style serve to pay homage to the spirit of his ancestors. Size: 13.75″ H (34.9 cm)
A professional artist for more than three decades, Mr. Ahvakana is a graduate of the Rhode Island School of Design in Providence, Rhode Island; the Institute of American Indian Arts in Santa Fe, New Mexico, and Cooper Union School of Art in New York, New York. Born in Fairbanks, Alaska and raised in Barrow and Anchorage, preserving his heritage is immensely important to Ahvakana. His works are in the collections of major museums and important national and international private collections. He is best known for his Inuit or Inupiaq figures and animals sculpted from wood, marble, alabaster, glass, and cast in bronze or other metals.
Similar masks by Ahvakana retail for about $3500.
Provenance: private Newport Beach, California, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
Nineteen mezzotints on paper, 1760-1762.
All 20 x 15 in. (sight), 25 x 20 in. (frame).
Exhibited: Art Institute of Chicago, Ireland: Crossroads of Art and Design 1690-1840.
Fitted with a loose cushion.
5 ft. 2 1/2 x 7 ft. 8 in. x 26 1/2 in.
John Richardson: A Scholar Collects
