Painting, Louie Pice

Louie Pice (American, 19th/20th century), Portrait of Thomas S. Barclay, Professor of Political Science 1925-1957 (Stanford University)," oil on canvas, signed lower right, title placard affixed lower

Robert Blehert (Seattle, Washington) original oil on paper mounted of jazz artist Louie Armstrong. Gallery frame with glass measures 6.25 in. x 6.3875 in. x 1.375 in. and the painting measures 2.5 in.

Regrister Artist E. Louie Pastel Painting: as seen in photo

Signed Berwick Oil Painting on Canvas. Depicting King Louie XIV. Measures - 35"W, 51 1/2" H, + 4 1/2" Frame

Travis Louie (20th c.) "The Panic", acrylic painting on board, signed. Framed. Size: 4.5'' x 6.25'', 11 x 16 cm (board); 7'' x 9'', 18 x 23 cm (frame).

From the series of small works that the painter John Walker (b. 1939) has produced over the past decade is this single example from 2005, titled "No. 22." Expressive in their nature, the body of work

Oil on board, the full moon reflecting in the river below amid clouds and shadows of trees. Christies East, New York, Old Master Paintings, 19 October 2000, lot 110 Collection of Dr. Ole H. Ploen, Swe

Evening landscape painting on panel, inscribed "HM Kitchell, 8x11, 1917" in pencil on verso. Hudson M. Kitchell (1862-1944) is broadly known for this precise type of richly colored evening scene. His

Fauvist oil on panel painting signed "J. W. Gregory" and dated 1928. Presumably John Worthington Gregory, American, 1903-1992. The house shown is very similar to that in a 1934 lithograph by the same

17th/18th century. Oil on board, the elder gentleman gazing downward and to the right, with gray hair and long beard, dressed in a dark robe. Sight 10 5/8 x 7 3/4 inches, frame 17 x 14 inches

Edgardo Mannucci (Italian, 1904-1986) Enamel on board. Unsigned. Label on reverse: "W&J Sloane, Inc. Mannucci, Edgardo Drawing — Enamel on Paper, 1954 19 3/4" x 13 3/4" C-71 (handwritten) M-164" Pri

Oil on canvas backed on board, a country summer landscape with buildings in the background, signed Douglas, lower left. With an informational paper tag partially reading: Exhibited seven years at Nati

The European sitter dressed in peach tone dress with blue ribbons and a black apron, seated in a paneled room in front of a fireplace spinning wool, a teapot placed on a small table behind her and fur

Ink and color on silk, depicting a samurai in full armor mounted on a galloping black horse in a landscape before water and amid pine trees, signed Kano Tanshin Morimichi, with one unidentified seal,

Portfolio of seven large format, geometric abstract serigraphs (screen prints) by the artist Jean Leppien, 1971. Titled "7 U.F.O" and modeled after a series of paintings by the artist, this portfolio

19th/20th century, one depicting a god seated on a lotus pad with ten arms, each hand holding a different attribute and five crowned heads, dressed in white, reverse with faded sticker reading subject

19th-20th century, a female on a veranda reclining over a green pillow; a nobleman hunter mounted on a white horse and mounted attendant in a landscape; a Nobleman with bow and female mounted on a bay

This is an Aboriginal Australian painting titled "Bush Turkey Dreaming". It was painted in 2016 by Cowboy Louie (Pula) Pwerle, a well-known Aboriginal artist who is widely exhibited in Australia. His

dated 2003. Original painting on rawhide in a 18" snowshoe frame.

Louie Ewing(1908 - 1983)46th Annual Inter-Tribal Indian Ceremonial Poster, 1967lithographic posterImage adapted from the painting "Olla Bearer" by Raymond ChavezGallup, New Mexico, August 10

18th/19th century, oil on board, depicted standing holding the staff with a globus cruciger set on the table beside, framed in an 18th century or earlier carved, giltwood ‘Auricular’ frame, a type

The sharp shouldered form rising to a tall, strait neck and above a rounded body tapering to the foot and recessed base, incised in low relief with a band of stylized clouds below the rim, the shoulde

Early 20th-century shield (known as a kliau or klebit), Mualang-Dayak people, West Kalimantan, Borneo Island, Indonesia. Honey-colored wood with black and red-brown pigments outlining the features of

Photograph, 2008, limited edition (17/30), from the series “The Wild Horses of Sable Island”, Nova Scotia, signed on verso, face mounted on plexiglass with aluminum backing Property of a New Y