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1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular! 1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular! 1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular!

1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular!


1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular!


1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular!

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1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz WOW! Truly Spectacular!

January 25, 2015 by Estate Auctions Inc.

1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model yqz
WOW! Truly Spectacular! Auction Ending 2/3/15, 10:26PM EST

We have an antique, circa 1899, folk art wooden model of the renowned French architecture, Notre Dame Cathedral. Each wooden trim and pillar is

1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model

1899 Antique Folk Art Notre Dame Cathedral Gothic Hand Carved Wood Model

nicely hand-carved and fitted, all made from scratch, with no indicators of a ready made kit! It’s not hard to see the time, effort, and love that went into making this detailed masterpiece. Even the rose windows are ornately applied, made from what appears to be a shiny, sheet like material, adorned with paint to mimic the ornate design of cathedral windows. Each molding and frame creating the two towers, pinnacles, arcades, and gables are original wood. In addition, the beautiful and famous west facade of Cathédrale Notre-Dame de Paris has several miniature clay figurines attached to the plinth- there’s a priest, and several Frenchmen in period attire.

The cathedral is on a wooden plinth, measuring at approx. 11.75 x 18.25 x 9.75,” and the cathedral itself measures at approx. 12″ h x 10″ w; weighing a sturdy 5.8 pounds! There are places of wood glue formation or solidification, the tips of the pinnacles are chipped off, wear of the wood is apparent, and its apparent that some of the clay figures have detached, with one chipped off. Otherwise, a truly amazing folk art piece. You won’t be disappointed with this Notre Dame miniature scale wooden model! Happy Bidding!

Antique 19th C Brass French Carriage Clock ORIGINAL BOX Victorian Era France

July 10, 2014 by Estate Auctions Inc.

Antique 19th C Brass French Carriage Clock ORIGINAL BOX Victorian Era France yqz
Removable Panel To Display Clock ~ Unique! Ending July 20, 2014 18:50:01 PDT

Up in this auction is a 19th century Carriage Brass & Glass Clock signed French. It has its ORIGINAL BOX which is quite unique. The box has a red

Antique 19th C Brass French Carriage Clock ORIGINAL BOX Victorian Era France

Antique 19th C Brass French Carriage Clock ORIGINAL BOX Victorian Era France

removable panel that will allow the clock to be seen with it fully inside. This would help to protect it while it was riding around. It is quite unique that an original box would still be in such good shape, given the age. It has an rectangle beveled glass view window on the top under a small swing handle, and the other 4 sides are flaned with the same great beveled glass. The white face has a few hairlines through it, but they do not seem to hinder performance. This piece is in working order as it stands, however it will need a good once over when you receive it, as with any antique clock that is shipped any distance. The piece is signed only France on the face. A well made clock in a small package with its original box. It measures approx. 5″ tall and 3 1/4″ wide by only 2 1/2″ deep. The box measures approx. 4″ x 3 1/2″ x 5 1/4″. The box is near shabby chic condition, just wear commensurate with age and a crack across the lid that does not hinder function. What a fun find! Good Luck!

Mid Cent Mod Charles Axt HUGE Nude African American Mahogany Wood Sculpture

May 12, 2014 by Estate Auctions Inc.

Mid Cent Mod Charles Axt HUGE Nude African American Mahogany Wood Sculpture
Mother & Child 84″ Tall Created In 1967 LISTED! Ending May 16, 2014 9:20 EST

Up in this auction is an original Charles Axt (b. 1935-) sculpture. Created by a listed African American artist, this piece depicts a nude black woman with her child clinging to her legs. A mid century modern piece done in 1967. It is a solid piece of mahogany wood, massive being 84″ tall with a base that is 26″ x 15″. We spoke with Mr. Axt, now currently living in St. Petersburg, Florida, what a kind and gentle man. More than happy to share about his artwork. He let us know that this was done in 1967 when he was in St. Thomas out of a solid mahogany log. We found him listed in AskArt and found a great article about him from just a few days ago, (We are posting that article just below). For those who would like to see more of his works, he is having an exhibit on May 10th and 11th at the Gallerie 909 in St. Petersburg, in conjunction with the Dr. Carter G. Woodson African American Museum of St. Petersburg.

This piece is amazing, with fantastic lines and a wonderful mid century look.

Due to its impressive size, we recognize that shipping will be outrageous. So… to help out we will ship this anywhere in the Continental United States for $100.00. (Of course we would prefer pick up right here in our metropolis of Seaford, Delaware.) We can make arrangements to ship this anywhere in the world, email us for a quote outside the Continental U.S.

Here is that article we found, this is from the May 1st, 2014 posting of The Weekly Challenger Newspaper of St. Petersburg in Arts & Entertainment, written BY FRANK DROUZAS, Staff Writer (Great Article and Site!!)

T. PETERSBURG — As far back as grade school, Charles Axt was called upon to utilize his natural talent for art. His teachers would have him sketch pictures on the chalkboard of American historical figures such as George Washington. He continued to develop his talent at DeWitt Clinton High in the Bronx, N.Y., where a teacher encouraged him to pursue his art at Alfred University.

“So I wound up at Alfred in the ceramic program,” Axt recalled. “In those days it was called the college of ceramics, where you learned the trade—mold making, pottery, how to make glazes and all of that. And there was also the design program so I got into that, and that’s when I really got into design and painting and sculpture.”

After graduating with a Bachelor of Fine Arts in Ceramic Design in 1957, this Harlem native secured a substitute-teaching job. The temporary nature of the position suited him because he knew he’d soon have to do his two-year hitch for Uncle Sam.

“In those days you got drafted into the army,” the 78 year old explained, “so I got a job teaching ceramics in New York. I worked a year then went into the army.”

When he wasn’t aiming a rifle at a target, he was stroking a canvas with a paintbrush.

“In two years I was in Oklahoma and did some watercolors, just to keep my hand in it,” he remembered.

Once out of the service and back east in New York, Axt found a job teaching ceramics at P.S. 55. It was around this time that he became a part of an art groups in the Village in New York, and turned his interest to his paintings, which began to appear in galleries. After a shakeup in the school system, where junior high officially became middle school, Axt found himself out of a job.

“I was teaching ninth grade and you had to go to a high school to teach ninth grade,” he explained, “so in the middle of all that, I was displaced.”

In 1965, a solution presented itself in the form of a phone call from a distant locale. A friend of Axt’s who lived in St. Thomas in the Caribbean informed him that they needed teachers down there, and would he consider relocating to the sunny, subtropical island?

“I had a house in Mt. Vernon, sold it, picked up from New York and moved there,” he said.

Axt started a ceramic program at the high school down there where he also learned the mahogany trade. He explained that he did “a whole lot of carving” of the semi-precious wood. When the school wanted him to become an administrator he returned to the States to get his master’s, but wound up staying in Newark, N.J. for another eight years. It turned out to be a productive time for the artist due to the many connections he made in the art world.

“I met a lot of people like Romare Bearden,” Axt said. “His paintings were going for about $40,000.” Bearden, a hugely influential African-American artist, worked with several techniques including cut-and-paste art, oils and even cartoons.

It was during this time that Axt was able to exhibit more of his work such as ceramics and wood at such locations as the Trenton State Museum and the Koltnow Gallery in New York. Yet even with these exhibits, it was tough to break into the mainstream for African Americans.

“We were having a hard time as black artists getting into different shows, but we had a black gallery called the Cinque Gallery,” Axt said. “It was famous and run by New York State to help young black artists.”

His works gained enough attention to even garner him a listing in a 1970’s directory of who’s who of African-American artists, which Axt admitted was pretty big at the time.

He stayed and taught at Montgomery Street School in Newark, a special education school, when paradise beckoned once again and Axt received another call from St. Thomas. They wanted him back, so back he went in 1978, where he stayed and did more carvings and paintings. Many of his sculptures have a heavy African and Caribbean influence. In 1984, he moved to St. Pete and once taught at Gibbs High School for a few years.

But molding and sculpting eventually took its toll as Axt developed carpal tunnel syndrome. Doctors wanted to operate, but Axt refused. And he was hardly the type to merely sit around doing nothing about it.

“I couldn’t work with clay so I went back into painting,” he said. “I painted all these pictures, a total of almost 20 paintings. Two dimension and three dimension are two different things. Sometimes physically I can’t do what I used to do because I’m getting kind of old. I’ve been in this game a long time!”

If nothing else, an artist has to look after his hands, and Axt did just that—but on his own terms.

“I went to therapy and went to yoga and I got my hands back,” he stated. “I’m not saying I’m not going to go back into clay, I’m just playing it by ear.”

As if his impressive arsenal of work isn’t enough, these days he is trying his hand at yet another medium: collages.

“You might say the word was ‘capricious,’” he said, explaining his mindset to go down another artistic path. “This is just experimenting.”

He is currently at work on a series of collage portraits, many depicting faces with some sort of mask. Axt admitted that the work of Bearden, who also did collages, is an influence. Other favorite artists he lists are Pablo Picasso, Paul Cezanne and the renowned British sculptor Henry Moore.

Though proficient in working with ceramics and paint, Axt explains that painting offers the artist more control whereas ceramics involve not only skill but a little luck and sometimes supplication to a higher power.

“I like the idea that you have a final say when you’re painting a painting,” he said. “You can manipulate it. If you’re not sure of your end, you can go back and change it then you’ll have it the way you really want it,” he said.

He explained that ceramics are a different story. An artist goes through the arduous process of sculpturing it without breaking it, firing it without breaking it, glazing it without breaking it and someone’s work who’s sitting next to theirs in the oven could blow up from the heat and ruin the lot of them.

“A lot of times you’re not in charge. It’s the fire gods, as they say. So when you’re firing ceramics you’re praying all the time!” he laughed.

His advice for young artists starting out is to be mindful of the business end of the art world.

“The main thing with art is you have to have someone who is going to push the money side of things if you want to sell your work. A lot of artists don’t want to sell their work because they do it for their own pleasure. I do it for my own pleasure but I don’t mind selling them,” Axt laughingly remarked.

MAMA GIRL Olney Folk Outsider Art African American Hand Painted Art

April 29, 2014 by Estate Auctions Inc.

MAMA GIRL Olney Folk Outsider Art African American Hand Painted Art
Mary Olney – Eastern Shores Most Famous Folk Artist

We have multiple pieces being listed of famous Folk Artist Mama Girl (Mary Olney) from Virginia. Be sure to find them all.

http://YQZ.ME/MAMA-GIRL-FOLK-ART "Watermelon Tree"

“Watermelon Tree”

In this auction we have a folk art hand painted ceramic vase by Mama Girl Mary Olney. She is considered the Eastern Shores most famous folk artist and believes her art is ordained by God and is led by His spirit with her artwork. For those of you not familiar with the Eastern Shore, that would be the peninsula that has the whole state of Delaware, a small section of Maryland and on the bottom tip is a small piece of Virginia, and that is where Mama Girl resides. Pieces of her art can be found in the Ward Museum of Salisbury Md.

HTTP://YQZ.ME/MAMA-GIRL-FOLK-ART MAMA GIRL Olney Folk Outsider Art African American Hand Painted Vase

MAMA GIRL Olney Folk Outsider Art African American Hand Painted Vase

The purpose of Mama Girls art is to make people happy and with the bright beautiful colors, I think she fulfills her purpose. This is a nicely hand painted ceramic vase trimmed in black. The swirls of peach resembles that of an orangesicle pop on a hot summer day. On one side we find Mama Girls painted signature. It is in good condition measures approximately 9 3/4″ x 3″. Be sure to find all of our fabulous Mama Girl paintings and paper mache pieces. Good luck.

Found in an article from the tidewatertimes website about Mama Girl (Great site):

Seeing What Spirit Sees by Helen Chappell

Mama-Girl is one of the Eastern Shore’s most famous folk artists. And she’s getting quite a name for herself in collector’s circles for her visionary work. People who make the long drive down the Eastern Shore of Virginia’s Route 13, then out through the rural countryside are in for a rare treat. In her small studio, just outside Painter, she’s surrounded by her unique art visions. Brightly painted, deceptively simple shapes are all around her, created in her unique style of papier-mâché.

On the advice of a mentor, when she first started, Momma-Girl trademarked her nom d’art as well as her creative methods, which involve strips of newspaper, Elmer’s Glue and acrylic paint. In spite of her patent, she is generous with her time and talent, and often gives workshops and classes in her technique, which are as much spiritual as creative exercises.

She also does several shows a year up and down the Eastern Seaboard. Momma-Girl shows in traditional art shows as well as folk art events, and her legion of fans and collectors grows larger every year.

A deeply spiritual woman who feels her work is guided by God, she credits her faith for her creativity. “Whenever the spirit get to me, I go to work and do it,” she says. Like other artists, traditionally trained or folk, Momma-Girl feels her art is guided by a divine presence for whom she is a conduit. She shares a belief held by many creative people that their talent is a gift from God, to be used at His pleasure and direction. The line between the creative and the mystic is very thin indeed. Many of her works reflect religious themes, such as the nativity’s she makes, which she calls her “activity scenes”.

Born Mary Onley fifty-two years ago and nicknamed Momma-Girl by her grandmother, she’s the mother of four grown children, six grandchildren and two



foster children. She’s buried two husbands, and endured ill health most of her life. The child and grandchild of field workers from Painter, she’s known a lot of hard physical labor herself. She started working in the fields when she was about 12. “ Name it and I’ve done it all,” she says. “I’ve picked tomatoes, beans, cucumbers, greens, peppers- – You name it.” She had worked her way up to field foreman when she had to quit, overtaken by allergies so severe they caused her to pass out.

Severe allergies have plagued her all her life, and they caused her to be continually hospitalized when histamines caused her to faint. “I was paralyzed, so my family thought I was dead. I couldn’t move, I couldn’t see, but I could hear what people were saying around me.” She laughs. “So I’d wake up and tell them what they said about me!” Once the doctors told her she could no longer work in the fields, she was deeply depressed. Not only was she used to working, she was saddened not to be to be outside. “I still love being outside, even when I know it’s no good for me,” she confides.



But Spirit, as Spirit will, came to her rescue. Around 1995, she was inspired to try her hand at making art, using what she had lying around the house. “I took glue, cardboard boxes, clothes hangers and every color paint I could find around the place,” she recalls. She holds out a hand to show a dark scar on top and on her palm. “When I first started, I accidentally put a clothes hanger right through my hand.” But she persisted. “I asked God to make me do something no one had ever done before.” The Lord answered her prayers, fortunately for all of us who love her work. As her fame spread, so did her faith.

Several years ago, a woman she had never met before appeared on her doorstep, telling Momma-Girl she was there to ordain the artist. So now, she’s Reverend Onley, who preaches at Bethel Baptist Church in Franktown. When she had a disagreement with a male pastor, and he reproved her for being an uppity woman, “I told him I wasn’t saying it, Spirit was!” She chuckles.

In 1997, she started showing at in Cape Charles. “Spirit told me to take only birds to that show. And I sold them out.” For an upcoming show, Spirit has guided her to show only cats. Spirit is wise. Cat people will buy anything that has a feline theme. “And I started to make what spirit told me to make. I was starting good just before my second husband died,” she recalls. “I got so mad at that doctor. He told me because of my allergies I couldn’t do anything. I said ‘I’m going to make a liar out of you’.” And so she did. The hospital where that doctor is on staff recently commissioned her to paint a set of child’s table and chairs for their pediatric ward. “I’m not only dealing with this art, I’m dealing with people’s lives. This artwork- – – God gave it to me to make people happy.”

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