Original oil on canvas painting of still life. Gorgeous shades of green, burgundy, and aubergine that give a an abstract modern piece a classic feel. Signed on lower left, artist unknown.

Still life in oil on canvas by fernand fabre

a native of the south of france, fernand fabre paid homage to his region by painting landscapes, ships, seashores and, as here, still lifes.

here we present one of his works, depicting a table and chest of drawers embellished with fruit trays, vases and flowers.

a highly identifiable style, typical of the artist.
signed at bottom
the painting is framed in wood and gilded stucco.

all in very good condition.
cf photos

dimensions:
frame 113x94cm
painting 100x81cm this piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

A multicolor stripe abstract painting done in acrylic on canvas and framed. The colors include vibrant blues, greens, yellow and pinks. The American painter, Stan Lindwasser’s abstract images evoke natural scenes such as landscapes or weather. Canvas alone measures 48 inches by 36 inches.

As new condition frame is hardwood and marquetry , bones .

We are selling this cool Japanese Mid-Century zen watercolor painting of blades of grass in ink on paper. Just a cool and simple Asian modern style.

Condition: Some water damage at the bottom of the paper.

Dimensions:
Height 24 Inches 60.9 cm
Width 18 7/8 Inches 47.8 cm
Depth 3/4 Inches 2.0 cm
Sight Height 22 5/8 Inches 57.4 cm
Sight Width 17 1/2 Inches 44.4 cm

A watercolor on board by Angelo Testa. Signed and dated (1962)
Measures: 29½ H × 19½ W in.

Angelo Testa was one of the foremost American textile designers of the mid-20th century. In 1945, he became the first graduate of the Institute of Design (formerly the New Bauhaus) in Chicago, where he studied under artist László Moholy-Nagy, architect George Fred Keck, and weaver Marli Ehrman. In 1947, he founded his own firm, Angelo Testa & Co., which remained active until his death in 1984.
Testa did not produce an annual or bi-annual line as other fabric producers did. Instead, once he had put a design into production he would keep filling orders for the design, having new yardage printed as necessary. Some designs were screen printed by his own firm, Angelo Testa & Co., others were produced by Greef, Forster Textiles Mills, Knoll Associates, F. Schumacher & Co., and Cohn-Hall-Marx.
A painter, sculptor, and weaver as well as a designer, Testa was familiar with the work of contemporary abstract artists. He introduced to textile design abstract and non-objective patterns using combinations of thick and thin lines, solid and outlined forms, positive and negative spaces, and clean pure colors. Designing patterns primarily for use within the architecture and interior design trade, his clients included many of the leading producers of Mid-Century Modern furniture and fabrics, including Herman Miller, Knoll Associates, and Jens Risom.
Provenance:
Collection of the Artist
Exhibited at the Art Institute of Chicago exhibition Rooted in Chicago in 1997.
Wright Chicago, Modern and Contemporary Art, May 16, 2004, Lot 328
Signed and dated lower center. Framed.

A Japanese sumi ink calligraphy Buddhist mandala mounted as a paper hanging scroll known as Kakejiku or sometimes Moji mandala. Termed as gohonzon in Japanese, it is a venerated object within Nichiren Buddhism (Hokkeshu; lotus sect). The originally concept was developed by the 13th century Buddhist priest Nichiren to guide the energy of the devotional chanting to the correct direction. The hanging scroll has a prototype design and features stylized Kanji writing of the Buddhist mantra with overflowing and interlacing fashion. It was often made for a specific person and sometimes on a specific occasion (known as Joju gohonzon) for the prays to be answered. Traditionally, the scroll is hanging as part of the accouterment of the shrine installation.
The gohonzon on offer is a Jujo scroll with dedication inscription on the left and date on the right, forming part of the elaborate graphic composition. It was dated to Meiji40th year (1907). The paper was bordered with two stripes of golden brocade. which was also used as two vertical decoration ribbons. A yellow dyed raw silk woven fabric was used as the background mount. Considering that the scroll was dated to 1907, the current mount is likely original based on its condition.
When fully opened, the scroll measures 18″ w x 45.25″ h x 0.75″d. The size of the original ink mandala is 14″ w. x 21.25″ h. It is also inscribed as the dedicated deity and temple on the back of the scroll.

A Japanese sumi ink calligraphy Buddhist mandala mounted as a paper hanging scroll known as Kakejiku or sometimes Moji mandala. Termed as gohonzon in Japanese, it is a venerated object within Nichiren Buddhism (Hokkeshu; lotus sect). The originally concept was developed by the 13th century Buddhist priest Nichiren to guide the energy of the devotional chanting to the correct direction. The hanging scroll has a prototype design and features stylized Kanji writing of the Buddhist mantra with overflowing and interlacing fashion. It was often made for a specific person and sometimes on a specific occasion (known as Joju gohonzon) for the prays to be answered. Traditionally, the scroll is hanging as part of the accouterment of the shrine installation.
The gohonzon on offer is a Jujo scroll with dedication inscription on the left and date on the right, forming part of the elaborate graphic composition. It was dated to Meiji 29th year (1896). The paper was bordered a graphic paper with chevron pattern. which was also used as two vertical decoration ribbons. A reddish paper was then used as the background mount. Considering that the scroll was dated to 1897, the current mount is likely original based on its condition.
When fully opened, the scroll measures 20″ w x 49″ h x 0.75″d. The size of the original ink mandala is 14.5″ w. x 21″ h. It is also inscribed as the dedicated deity and temple on the back of the scroll.

A gouache on silk painting of a Buddhist priest by Japanese painter Goro Kamenaga (1890-1955). The highly realistic painting depicts a figure in seated position, donning a Buddhist robe with a kesa tied on top and holding a string of prayer beads in his hands. Although not possible for us to know his identity, the figure is apparently in high enlightenment, perhaps a historical Zen master. This is indicated by a halo around his head, which is normally reserved for important Arhats or Bodhisattvas, who have reached nirvana in the Buddhism art. The painting was signed Goro and dated to the June of Tasho sixth year (1917). The image size is approximately 21.75″ h by 14.75″ w. The painting is nicely presented under a brown silk mat in a gilt wood frame.
Born in Shimonoseki City, Yamaguchi Prefecture, Goro Kamenaga was a disciple of Kiyokata Kaburagi. He was selected for the Imperial Art Exhibition in honor of Prince Shotoku and the Berlin Japanese Painting Exhibition. His work was characterized by its unique beauty, movement and composition, the spirituality and inner nature of the characters, and the freedom of combination of delicate colors and shapes.
For a painted screen with figures by the artist in 1926, see lot 62 of Christie’s sale 2266 on March 17th, 2009.

A Japanese sumi ink calligraphy Buddhist mandala mounted as a paper hanging scroll known as Kakejiku or sometimes Moji mandala. Termed as gohonzon in Japanese, it is a venerated object within Nichiren Buddhism (Hokkeshu; lotus sect). The originally concept was developed by the 13th century Buddhist priest Nichiren to guide the energy of the devotional chanting to the correct direction. The hanging scroll has a prototype design and features stylized Kanji writing of the Buddhist mantra with overflowing and interlacing fashion. It was often made for a specific person and sometimes on a specific occasion (known as Joju gohonzon) for the prays to be answered. Traditionally, the scroll is hanging as part of the accouterment of the shrine installation.
The gohonzon on offer is a fine example of an early Jujo scroll with dedication inscription on the left and date on the right, forming part of the elaborate graphic composition. It was dated to Bunka 7th year (1810) of Edo period. The paper was mounted on lining paper and bordered with two stripes of golden brocade. A yellow dyed washi paper was used as inner border before it was finally laid on a blue dyed washi paper, forming a visually striking color contrast. Historically, the original paper gohonzon of that age may have been remounted many times when it was deemed necessary.
When fully opened, the scroll measures 11″ w x 46″ h x 0.75″d. The size of the original ink mandala is 6.5″ w. x 14.5″ h. It is also inscribed and dated on the back of the scroll.