**Originally Listed At $4500**

Peter Max (American, b. 1937), drawing on verso of Serendipity menu, signed and dated 1971. A true find for any art collector, this incredible drawing and inscription by Pop Art/Neo-Expressionist legend Peter Max was created on the verso of a menu for the historic New York City restaurant “Serendipity” (still known for its famous frozen hot chocolate – listed on this menu for a whopping $1.50). The composition of the drawing features a Surrealist landscape inhabited by a tiny figure running across the groundline with a flower in hand, flowers that are larger than this figure above him at the lower end of a grand hillside, a seascape beyond with sailboats to either side of the hilltop, with an angel standing at the peak and holding a staff. In the skies above are several flying angels surrounded by stars and birds who inhabit rays of the sun – and making a most dramatic impression, a huge profiled head overlaps the sun. Finally, Max’s inscription at bottom left reads, “For Susan – Love Always Peter Max – 1971 N.Y.C.” The piece is set in a red double-sided floating frame, so that both the drawing and menu are visible. Size: 26.5″ W x 18.75″ H (67.3 cm x 47.6 cm); 32.75″ W x 25″ H (83.2 cm x 63.5 cm) framed

A definition of the restaurant’s namesake “Serendipity” at the left side of the menu reads, “… the art of finding the unusual, or the pleasantly unexpected by chance or sagacity …” Indeed Max’s artwork on this menu fits those tenets of Serendipity to a tee!

Peter Max rose to fame in the 1960’s as a visionary Pop artist and developed a dynamic form of Neo Expressionism. His famous Cosmic ’60s style presented a striking form of painting that emphasized line and employed a Fauvist command of color in otherworldly transcendental themes. Some rightfully argue that Peter Max revolutionized visual art of the 60’s the way that the Beatles innovated music during that memorable decade. In addition to being an accomplished artist, Peter Max is an environmentalist as well as a human and animal rights activist, oftentimes creating works for these causes. Furthermore, Max has devoted a branch of his oeuvre to patriotic freedom pieces with his Lady Liberty and the American Flag paintings (one of his Lady Liberty compositions is available at Artemis Gallery as well).

Serendipity is a historic New York City restaurant founded in 1954. According to the restaurant’s website, “Serendipity has been enchanting millions of patrons since its inception. It’s an enchanting place where artists got their inspiration and actors fulfilled their cravings. Beginning with Marilyn Monroe, Andy Warhol, Grace Kelly and Cary Grant in the 1950’s continuing with a celebrity following that includes Cher, Candice Bergen, Melanie Griffith and Ron Howard, the restaurant continues to attract the newest crop of hot young celebrities such as Beyonce, Ryan Reynolds, Selena Gomez and Kim Kardashian. In addition, the restaurant has been the setting of three major Hollywood productions, One Fine Day (1996) with George Clooney and Michelle Pfeiffer, Serendipity (2001) with John Cusack and Kate Beckinsale, and Trust The Man (2005) with Julianne Moore and David Duchovny.” (https://serendipity3.com/history/)

Provenance: ex-private Los Angeles, California, USA estate collection

The Legendary Finest Known 1854-S Half Eagle
The F.C.C. Boyd Specimen
Last Offered in the 1982 Eliasberg Sale
1854-S Liberty Head Half Eagle. AU-58+ (PCGS). CAC.

Southeast Asia, Thailand, Ayutthaya Period, ca. 17th to early 18th century CE. A life-sized, cast-brass head of Buddha with a hollow interior and sensuous facial details. Buddha presents a meditative countenance with downcast eyes filled with red pigment beneath wispy brows, full lips with indented corners, a sharply crested, aquiline nose, and tall ears bearing the tops of each lobe. Topping his head is an intricate crown with raised floral and foliage motifs beneath a flaming upper periphery, applied red pigment, and opulent gilding in 54.7% gold (equivalent to 12K+) which still retains its original yellow hue on the verso. Above the crown are a pair of tiered, conical ushnishas that flank the upper casting hole. An extraordinary head replete with expert detailing and lustrous brown patina. Size: 7.9″ W x 11.375″ H (20.1 cm x 28.9 cm); quality of gold: 54.7% (equivalent to 12K+).

The head of Buddha is perhaps the most significant element of the deity as it represents his immense body of knowledge and wisdom along with the tranquil nature that emanates from its expression. The prominent elongated ears are a physical feature symbolic of the Buddha’s time as a prince when he wore elaborate ear ornaments to demonstrate wealth and prosperity. Of course, the prince stopped wearing them when he left the palace to become an ascetic; however, his earlobes remained stretched signifying a renunciation of the material world. Beyond the multi-layered meaning embodied in the iconography of this piece, the technique executed to create the meticulously delineated curls of his coiffure and the absolute smoothness of the contours of that face is very impressive.

A silver box with 8 Chinese jade square plaques dating to the Ming dynasty. The bottom of the box is stamped: Edward I. Farmer, New York, Sterling. The jade plaques feature dragons among ruyi and floral tracery.

Dimensions are: 3 1/4 in. tall X 6 1/2 in. wide X 3 3/4 in. deep; 8.3 cm tall X 16.5 cm wide X 9.5 cm deep. All measurements are approximate.

Condition: A few small chips are small areas with evidence of repair.

Provenance: From a collector in Southern California.

High resolution photos can be found at: https://oag.smugmug.com/Asian-Decorative-Arts-March-2020

Joe Descomps
(French, 1869-1950)
sculpture
bronze and marble
signed
19″h x 23″w

Provenance:June and Larry Greenwald collection

Condition:

Signed Joe Descomps. Foundry mark Etling Paris. Excellent original condition. Dramatic design, excellent detail. Very nice original patina. Very decorative.

The Invisible Man (Universal, 1933). Very Fine on Linen. One Sheet (27″ X 41″) Style B. Karoly Grosz Artwork.
Heritage is excited and pleased to present this first time offer to this gorgeous stone litho poster to one of the classics of Universal horror. One of only a small handful of this style poster known to exist! By 1933 Universal Studios had scored a tremendous success with their push into the horror arena with films based on classics such as Dracula (1931) and Frankenstein (1931), both relying on horrific makeup and gore. With The Invisible Man they turned their eye toward special effects as the fright factor in this glorious adaptation of the H. G. Wells novel. The studio brought in the director who made the “Frankenstein Monster” so exciting, James Whale. He brought to the horror film a tongue-in-cheek element which almost 85 years after the film’s release makes it so very enjoyable. Claude Rains, who only appears on camera briefly in the film but whose voice is the epitome of pure evil, is brilliant in the role of a scientist whose work drives him mad. Yet it is the special effects that are the stars of this film. Though appearing somewhat primitive by today’s CGI standards one can only imagine the jaw-dropping impact the effects of wizard John Fulton and his team produced in 1933. This beautiful poster has been professionally conserved. The stone litho one sheet no longer shows some slight fold wear and separation, a few very minor chips, small tears, and bits of surface wear above the studio text at the bottom. There has been professional touchup applied to parts of the borders, some of which shows small cracks. The poster shows a few thin mat shadows, from when it was once displayed. This is a once in a lifetime opportunity to get this magnificent image.

Steuben
vase
Corning, NY
acid cut back glass
11.5″h x 8″dia

Provenance:June and Larry Greenwald collection

Condition:

Minor flakes to high points of body which is normal with this technique. Very nice surface iridescence. Overall very good original condition. Striking art deco design.

D (2019)

France

This rare Birkin is of Ombre Varanus Salvator lizard with palladium hardware and has tonal stitching, front toggle closure, clochette with lock and two keys, and double rolled handles.

The interior is lined with Parchemin chevre and has one zipper pocket with an Hermès engraved zipper pull and an open pocket on the opposite side.

Accompanied by Hermès box, Hermès dustbag, felt, clochette, lock, two keys, clochette dustbag, rainhat, carebook, CITES, ribbon

Measures 10″ width x 7.5″ height x 4.75″ depth; 2.75″ handle drop

East Asia, Japan, Edo period, ca. 1603 to 1868 CE. A wonderful set of samurai armor (o-yoroi) for the upper body with shoulder and waist panels constructed in a card-like or plated (karuta or kozan-do) style. The lacquered iron helmet (kabuto) has a trio of crescent-shaped panels affixed to the back periphery, two flared side flaps (fukigaeshi) and a pair of slender horns with pointed tips above the frontal brim. The lacquered iron chest armor (dou) bears a front and back panel with arm grooves, six plated panels (kusazuri) around both sides of the waist, and layered shoulder panels (ko-sode) on top. The front of the chest armor bears a red-painted circle with a trio of branches extending inwards. The cloth and iron mail arm sleeves (kote) are tied to the biceps, forearms, and hands for protection. Mounted on a modern mannequin. Size of largest (chest armor): 15″ W x 24.5″ H (38.1 cm x 62.2 cm); (mannequin): 81.75″ H (207.6 cm).

Provenance: private Hawaii, USA collection

Central Asia, Tibet, ca. late 19th to early 20th century CE. A wonderful example of a hand-carved wooden festival mask of a sizable form. The fierce countenance is comprised of bulging hemispherical eyes beneath flaming brows, a furrowed nose with delineated nostrils, a gaping mouth filled with huge fangs, large ears with drooping lobes, and a corkscrew beard. Centered on the forehead is a third eye and a crown replete with five stylized human skulls representing the five Bodhisattvas, and traces of red, yellow, blue, and white pigment are visible around the front. The deity depicted is Mahakala, the god known as the “Great Black One” or “Great Time.” Time is believed to be the destroyer of all things in Tibetan mythology and is therefore symbolic of death and destruction. Size: 13.375″ W x 15.25″ H (34 cm x 38.7 cm); 20.625″ H (52.4 cm) on included custom stand.

Provenance: private Hawaii, USA collection; ex-private Hawaii, USA collection