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Click here to subscribeHenri Franck (French, b.1877-d.1957), 'Falicon', oil on canvas, signed lower right, inscribed, titled and dated '1929' to the reverse, bearing a 'James Connell & Sons Ltd, Glasgow' label, 36.5cm x 44.5cmThe painting in good condition. The frame with losses to the gilt gesso moulding. Minor marks and dents overall.
A French school still life painting, in the manner of Le Fauconnier, still life, oil on board, unframed, 51cm x 60cmThis work is overall in good and sturdy condition, with signs of wear to the paint surface such as minor scratches, cracks to the paintwork and scuffs to the edges due to a lack of frame.
A LATE 19TH CENTURY COASTAL LANDSCAPE WITH FIGURES, two small children are playing with a pond yacht in the sea, indistinctly signed and dated '95 bottom right, oil on relined canvas, approximate size 30cm x 45cm, Condition Report: there is a repair to the canvas to the middle of the painting, overpainting to a 5cm line to the sky, losses to the frame
AN EARLY 19TH CENTURY HALF LENGTH PORTRAIT OF A YOUNG FEMALE FIGURE, she wears a white dress with a blue sash around her waist, in her right hand is a rose cutting, no visible signature, oil on relined canvas, maximum approximate dimensions 58cm x 49cm, Condition Report: the painting has been restored in places, obvious areas are to the end of the nose, her hand and hair, there is a repaired tear running from the top and down the right side with areas of overpainting to missing pieces of the original canvas, some losses to the frame
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Watcher" Dated: '95 Oil on Canvas. Signed lower right and verso. Size: 13 x 13 in. (199 - 4669) In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Female Head" Dated: '71 Oil on Paper. Signed lower middle. Image Size: 12.25 x 9 in. Overall Size: 20.75 x 16.75 in. Framed behind glass. (83 - 4664) In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Triple Beam" Dated: '90 Oil on Canvas. Signed and titled verso. Size: 61.5 x 49.25 in. (122 - 4340) In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Karel Christiaan Appel (New York / France, Italy, Switzerland, 1921 - 2006) "1963 Tete Fleurie" Oil on board painting. Signed and dated twice in lower portion. Inscribed/titled verso. Provenance: Private Palm Beach Florida collection. This painting does not come with any additional documentation. Housed in a later added frame. Sight Size: 19 x 28 in. Overall Framed Size: 28 x 37 in.
David K Stone (Oregon, 1922 - 2001) "Statue of "Mother Russia"" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 50c Battle of Stalingrad 1942 stamp issued August 23, 1992. Before Stalingrad, Germany ran roughshod over all of Europe. After it, German armies continued to run -- but generally back to the Fatherland. Hitler's massive 6th Army, which had crushed Holland and Belgium, arrived at the fortified city of Stalingrad in August. A five-month siege followed, with Russians fighting Germans street to street, house to house. Then the brutal Russian winter began to take its toll on the Axis forces. In the end, their supply lines cut off, 94,000 surviving Germans surrendered. The rest had fallen victim to biting cold and the equally lethal bite of Russian steel. Image Size: 24.25 x 15.5 in. Overall Size: 27 x 23.75 in. Unframed. (B13912)
David K. Stone (American, 1922 - 2001) "Frederic Bartholdi/Statue of Liberty" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 22c Frederic A. Bartholdi stamp issued July 18, 1985. Standing proud and silent over New York Harbor is the Statue of Liberty, a symbol of international friendship ... and Americans owe its design to the French sculptor Fredric Auguste Bartholdi. Originally planned to be given to the United States by the people of France in 1876 -- the date marking one hundred years of American independence -- Lady Liberty was not completed and presented to the United States until 1885. The spirit of the Statue had originated in 1865 when Abraham Lincoln was assassinated. Lincoln had been a living symbol of liberty for the French people. Greatly affected by the tragedy, the French nation took up a collection ... and a gold medal was sent to Mrs. Lincoln with the message: "Tell Mrs. Lincoln that in this little box is the heart of France." But the friendship between the French and American people did not die with Lincoln and the French people felt a monument should be erected in the United States to symbolize that living friendship. It was then that Bartholdi was commissioned to travel to America and decide what kind of monument should be made. The model Bartholdi finally created succeeded in expressing the friendship of his nation. Portraying Lady Liberty uplifting the lamp of freedom, the statue was entitled Liberte Eclairant le Monde, or Liberty Enlightening the World. Erected upon an American-built pedestal on Liberty Island, Bartholdi's masterpiece -- the Statue of Liberty -- stands as a symbol of Franco-American friendship. Image Size: 20.75 x 17.75 in. Overall Size: 27 x 23.75 in. Unframed. (B08818)
David K. Stone (American, 1922 - 2001) "United States Senate" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 25c United States Senate stamp issued April 6, 1989. The stamp on this First Day Cover was released by the Post Office in honor of the Two Hundredth Anniversary of the first meeting of the Senate. Though the idea for the Senate originated during the Constitutional Convention in 1787, it actually began work in 1789 after ratification of the Constitution. Made up of two Senators from each state, the first Senate convened with only twenty-two members, as two of the original thirteen states had yet to ratify the Constitution. The Constitution provides that a Senator must be thirty years of age, have been a citizen of the United States for at least nine years, and be a resident of the state from which he or she is elected. Traditionally, a Senator is also from a wealthy background, is well educated, likely to be a lawyer, and even more likely a veteran. His or her position in the government, coupled with the structure of the Senate itself, provides a Senator considerable power. The Senate has a complex organizational makeup, relying on committees and subcommittees to process legislation. Each Senator may serve on various committees and virtually every Senator is chairman of at least a subcommittee. Thus, a Senator is likely to influence the decisions made in a number of different committees and subcommittees. This affords him or her the opportunity to be a spokesperson for the Senate as a whole on issues handled in his or her committees. Image Size: 17.75 x 21 in. Overall Size: 23.75 x 27 in. Unframed. (B11952)
David K. Stone (American, 1922 - 2001) "U.S. House of Representatives" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c U.S. House of Representatives Bicentennial stamp issued April 4, 1989. Following ratification of the Constitution, the House first convened in 1789 with sixty-five members. By 1913, membership had grown to four hundred thirty-five. The House has remained at that number since, with the exception of a temporary expansion in 1959 to four hundred thirty-seven members when Hawaii and Alaska were admitted to the Union. The number of Representatives from a state are based on population, and is reapportioned after each census to maintain a fair distribution. Representatives conduct business in committees and subcommittees, the most important of which are are Ways and Means, Appropriations, and Rules. The House processes ten to fifteen thousand bills yearly and enacts a large number of public and private laws. It also has the power to elect a President, should the electoral college fail to do so, and the House alone has the power to impeach the President and other high-ranking officials. Image Size: 13.25 x 20.75 in. Overall Size: 23.75 x 26.75 in. Unframed. (B11961)
Gregory Rudd (American, B. 1952) "Great Americans/Dennis Chavez" Signed lower right. Original Oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Image Size: 12 x 8.5 in. Overall Size: 14 x 10.75 in. Unframed. (B12858)
Keith Reynolds (American, B. 1929) "Micronesian - Marshallese Canoes" Signed lower right. Original Oil painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared in the foreground of the left side Walap stamp on the Republic of the Marshall Islands 32c Hong Kong Sunrise Souvenir Sheet issued February 12, 1997. Powered by the wind, the Canoes of the Marshall Islands and the Junks of China have been the foundation of commerce and friendship for more than 14 centuries. Image Size: 6.5 x 15 in. Overall Size: 18 x 14 in. Unframed. (B15576 / B15577)
Lyle Tayson (American, 1924 - 2014) "Leatherworker Craftsmen" Signed lower left. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the U.S. 13c Leatherworker stamp issue of July 4, 1977. During the Colonial era, leather was one of the most widely used materials. It was used for boots, shoes, coats, gloves, aprons, belts, harness, and many other things. Belts drove simple machines and served as valves in pumps. When America's War for Independence started, the need for leather for military use increased at once by leaps and bounds. The leather harness, for instance, pulled artillery guns and wagons. And, to protect fragile paper musket cartridges from dampness or damage, leather was used to make stiff waterproof cartridge boxes. Every soldier needed one, for damp cartridges could lose battles. As the army grew, more leather was needed. The constant cry from commanders in the field for supplies was not always heeded, but civilian craftsmen, and Leatherworkers in particular, were responsive when possible. To increase production, they shortened the tanning process, producing only slightly inferior leather. In their own shops they worked long and hard, knowing that in the army men went without shoes. These civilian craftsmen answered freedom's call as fully as soldiers and sailors. They, too, risked their lives and their fortunes as collaborators of rebellion. Image Size: 26 x 20.75 in. Overall Size: 30.25 x 24 in. Unframed. (B05136)
Mel Crawford (Canadian, B. 1925) "Robert Stanley Weir" Signed lower left. Original Oil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the Canada 17c "O Canada" stamp issued June 6, 1980. From the time it was first heard on June 24, 1880, O Canada remained a favorite throughout French Canada. In 1908, when a Montreal lawyer, Robert Stanley Weir, wrote the accepted English words for O Canada, this ver- sion became a favorite among the country's English speaking citizens. Weir's poetic words were a tribute to Quebec's Tercentenary and, by 1921, they had been officially adopted by the Association of Canadian Clubs and other national bodies that often opened their regular meetings with the patriotic song. In 1927, and again in 1939, Weir's version of O Canada was officially published to celebrate important national occasions. By this time, it had found its way into the hearts of a younger generation of Canadi- ans when it was printed in front of grammar school books throughout the Canadian provinces. Today, both the French and English words for O Canada are widely accepted as appropriate versions of the unofficial Canadian national anthem, and the moving melody is often heard all across Canada's vast domain. Image Size: 14.25 x 12.25 in. Overall Size: 17 x 15 in. Unframed. (B06461)
Mel Crawford (Canadian, B. 1925) "Rwanda" Signed lower left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the U.N. 15c Rwanda Flags of the U.N. Series stamp issued September 26, 1980. Sometimes called the African Switzerland, Rwanda is a land of beautiful lakes, deep valleys and magnificent snow-capped mountains. A country of a thousand hills with a mean altitude of 5,250 feet, it is also the land of perpetual spring despite the fact that it lies only seventy-five miles south of the equator. The high, level plateaus of Rwanda keep the climate cool and pleasant throughout the year. Twenty-three crystal-clear lakes and two national parks are the pride of the native people. In Akagera National Park, lions, buffalo, zebra and antelope roam freely in the beauty of their natural surroundings, while Volcanoes National Park is the home of the mountain gorilla. In the Mutara Hunting Grounds, all species of game abound. Rwanda is bordered on the northwest by a range of volcanoes and some of its many rivers constitute the source of the Nile. Located in the heart of Africa, in the great African rift, this tiny country is one of the most crowded on the continent, with more than four million people on only 10,170 square miles. The natives are eighty-five percent Bahutu and fifteen percent Watusi. The Bahutu are farmers who raise only enough food to feed their families. The Watusi are known for their great height and skillful dancing. They raise cattle for almost all their food and other needs. Even today, the people of Rwanda maintain their tribal traditions, with kinship and regional loyalties taking high priorities. About half practice tribal religions; the other half are Christians. Image Size: 14.5 x 11.75 in. Overall Size: 17.25 x 15 in. Unframed. (B05749)
Ren Wicks (American, 1911 - 1997) "Nitijela (Parliament Building)" Signed lower right. Original oil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 29? New Capitol Dedication Nitijela stamp issued August 11, 1993. August 11, 1993, marked the opening and dedication of the Marshall Islands Capitol Building Complex in the city of Majuro. One of the main structures there is the Nitijela, where the Marshallese parliament meets. This handsome building also holds the offices of the speaker, vice-speaker, legislative counsel and clerk of the Nitijela. A glass enclosure hangs overhead in the parliament chamber. From this vantage point, security forces have a clear view of all proceedings, and interpreters prepare translations of foreign dialogues. In addition, the Nitijela hosts local government affairs and may serve as a focal point for regional and international level gatherings. Some of the themes important to the Marshall Islands are promotion of fishing and tourism in the Pacific and environmental issues such as sea level and climate monitoring. Image Size: 11.25 x 16.25 in. Overall Size: 15 x 20 in. Unframed. (B14406)
Stanley Paine (British, B. 1934) "Jaguar SS1/British Motor Cars" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the Great Britain 26p SS1 & XJ6 Jaguar stamp issued October 13, 1982. Fifty years ago, the SS1 was advertised to the British public as the "ultra sports car." It was as sleek a sedan as the 1930's automobile industry could provide and it was the true ancestor of today's Jaguar ... even though that name was not used until 1935 when the sports saloon SS Jaguar was introduced. The SS1 Sports Saloon, which is featured in the artwork, was the product of a joint venture between the Swallow Coachbuilding Company -- which constructed the bodies -- and the Standard Car Company -- which developed and supplied the running chassis. The moving force behind this dream car of the 1930's was William Lyonns, later Sir William Lyonns, of Jaguar Cars, Limited. The SS1 could be purchased with either a sixteen horsepower or twenty horsepower engine. The car's low and gracefully proportioned lines were a very distinctive feature at a time when most other car manufacturers were building highsided, vertical designs. However, this elegant car that looked like a real speedster was actually a sheep in wolfs clothing. It took a full twenty seconds to reach a speed of fifty miles per hour and had a top speed of only sixty-five miles per hour. The true meaning of the SS1 Sports Saloon's name has been a mystery ever since the car was first introduced half a century ago. It could be short for Super Sports or Swallow Sports or Swallow Standard -- no one seems to know for sure. However, it is possible that the manufacturer purposely kept the name a mystery. Image Size: 6 x 7 in. Overall Size: 11.75 x 13 in. Unframed. (B07691)
Follower of Peter Paul Rubens (Flemish, 1577-1640) "The Holy Family with Saint Anne" Large Oil on Cradled Panel. Unsigned. 18th Century or earlier, presented in a later frame. This painting is after the circa 1625-1635 engraving by Schelte Adams a Bolswert (Dutch, 1571-1659) after a work by Rubens. Sight Size: 48.25 x 36 in. Overall Framed Size: 54.5 x 42.75 in.
English School (19th century): Fishing Smack and other Shipping off the Coast, oil on board unsigned 19cm x 34.5cmCondition Report:Generally good condition. Board bowed slightly, some minor paint loss around the edges, looks to have been heavily cleaned in the past. No signs of over-painting visible under UV light.
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