Made In Italy

Very nice Italian coffee or side table handcrafted out of travertine, 1980s. The top is rounded on the edge. It is made of beautiful travertine. Please take notice of the ver...

Very comfortable and original big tulip lounge chair with Ottoman, designed by Pierre Paulin for Artifort in 1965. This 80's pivoting edition has a round metal foot. The set is j...

Lovely Postmodern 1980s design, coffee or side table by Magnussen Ponte. The base of this cute table is made of rough edged brick motif Mactan stone or Fossil Stone. Six stone bal...

Beautiful Sing Sing Sing chair, designed by Shiro Kuramata and manufactured by XO, 1985. The chair is crafted from tubular steel and expanded steel ...

Very nice Italian coffee table, fabricated in the 1980s. It is handcrafted out of very beautiful Carrara marble. The fabulous marble features a very nice pattern of different colors...

Stunning set of 2 Italian coffee or side tables, handcrafted out of travertine. They can be used inside or outside the house. The plate and the base are made of beautiful traver...

Very nice Italian coffee table handcrafted out of travertine, 1980s. The top is rounded on the edge. It is made of beautiful rough travertine. Please take notice of the very ni...

Very nice Italian coffee or side table handcrafted out of travertine, 1980s. Two beautiful shaped plates on a very elegant base. The plates are rounded on the edge. It is made...

Very nice Italian coffee table from the 80's, handcrafted out of travertine. This beautiful piece looks like a pyramid. It has a travertine base and top, the glass plate is betw...

The famous Artifort orange slice chair by Pierre Paulin, designed in the 60s. This original chair with chromed legs is produced in the 80s. It is a cute and very comfortable chair. ...

Outstanding Italian coffee table handcrafted out of marble, 1980s. The teardrop shaped top and the two feet are made of very beautiful marble. The fabulous marble features a very...

Very nice and comfortable desk or office chair designed by Geoffrey Harcourt for Artifort, The Netherlands, 1970s. These swivel chairs are made with the best materials, they have ...

Very nice set of 3 Italian coffee tables or side tables, handcrafted out of travertine. They can be used inside or outside the house. The tables have all a different height so t...

Very comfortable 2-seat sofa, designed by the Artifort Design Group in 1987. It is a very solid sofa, made with the best materials. The metal tube makes ...

Stunning round Italian marble coffee or side table, fabricated in the 80's. The fabulous marble features a beautiful pattern of different colors. It is in very good condition, with...

Very nice octagon shaped Italian coffee or side table handcrafted out of travertine, 1980s. It is made of beautiful travertine. Please take notice of the very nice patterns. It ...

Very nice Italian coffee table handcrafted out of travertine, 1980's. The top is rounded on the edge. It is made of beautiful travertine. Please take notice of the very nice pa...

Very nice and comfortable desk or office chair designed by Geoffrey Harcourt for Artifort, The Netherlands, 1970s These swivel chairs are made with the best materials, they have a...

Very comfortable and turnable Big Globe Lounge Chair with Ottoman. The Globe Chair is designed by Pierre Paulin for Artifort in 1959, this particular set is...

Lovely marble side-table, designed by Eero Saarinen and produced by Knoll International. Very nice oval marble plate with a white aluminium tulip base. This original table is mar...

Very nice Italian coffee or side table handcrafted out of marble, 1970s. The rectangle top and the two feet are made of very beautiful marble. The fabulous marble features a very...

Very nice set of 3 Italian Coffee or Nesting Tables, 1980s. The tables have all a different Size so they fit in each other. The set is handcrafted out of beautiful travertine. ...

Extremely rare and very comfortable 'Noe' Lounge Chair, designed by Giampiero Vitelli and Titina Ammannati for Moroso. The chair features a chromed metal frame with a adjustable seat...

Very comfortable and cosy Artifort Mushroom chair, designed by Pierre Paulin in the 60s. These particular chair is fabricated in the 80s Covered with very beautiful Scandinavian wo...

Very nice Italian coffee table handcrafted out of travertine, 1980's. The beautiful square top is rounded on the edge. It is made of beautiful travertine. It has the normal t...

Very comfortable and cosy set of 2 Artifort Mushroom Chairs, designed by Pierre Paulin in the 60’s. Covered with stunning and high quality ...

Very nice set of 4 Italian folding chairs, fabricated in the 1980s. The seating of the chairs are made of wicker. The structure is made of so...

Lovely rectangle coffee or side table, fabricated in Italy in the 80's. This very nice table is made of bamboo and rattan. The plate is made of smoked glass. We work with profe...

Lovely set of 3 Italian coffee or cocktail tables. They have a Carrara marble round plate with a brass base. All tables have a different hight, the plates have the same size.

Very nice and rare coffee or side table, 1980s. This stunning table is made of rough edged brick motif Mactan stone or Fossil stone. The weight is around 15 kg (55 lbs). We wo...

Very nice Italian octagon coffee table, fabricated in the 1980s. It is handcrafted out of very beautiful marble. The fabulous marble features a very nice pattern of different colors...

Lovely set of 2 lounge or side chairs, fabricated in the Netherlands by Kaleidos. These comfortable chairs are fabricated in the 80's. The black wool fabric is in very good condi...

Very comfortable and cosy Artifort Mushroom chair, designed by Pierre Paulin in the 60s. These particular chairs are fabricated in the 80s Covered with very exclusive Dedar Ital...

Very nice Italian coffee table, fabricated in the early 1980s. It is handcrafted out of very beautiful marble. The fabulous marble features a very nice pattern of different colors. ...

Very nice and rare Italian coffee table, fabricated in the 1980s. Two round plates on a very elegant base. The plates are rounded on the edge. This lovely table is made of ...

Very elegant Italian coffee table handcrafted out of travertine, 1980's. The beautiful teardrop shaped top is rounded on the edge. It is made of beautiful travertine. The bas...

Very nice Italian coffee table, fabricated in the 1980s. It is handcrafted out of very beautiful Carrara marble. The fabulous marble features a very nice pattern of different colors...

Very nice Italian coffee table, fabricated in the 1980s. It is handcrafted out of very beautiful Carrara marble. The fabulous marble features a very nice pattern of different colors...

Beautiful marble dining table in te style of Ettore Sottsass, fabricated in Italy in the 80's. It has a very nice Carrara marble round top. The base is made of black painted steel ...

This lovely ring centres a 2.60 carat emerald cut peridot embellished at its outer edge by a single row of well-matched round brilliant cut diamonds weighing 1.40 carats, all set wi...

Dating to the 1980s, this classically designed cluster ring features a wonderful red ruby in the centre. The gemstone is full of life and ahs a weight of 1.84 carat. It is set within...

This set of four Charles Rennie Mackintosh model Ingram dining chairs embodies timeless elegance and a rich historical significance. Originally designed around 1910 for the White Dining Room...

This chair is made of black lacquered metal and has a wooden seating area. Its 'fragile' design is a great example of post-modern design. They are in very good condition with normal ...

Gobardhan Ash - Untitled - Gouache on Paper 15 x 9 inches, 18-12-1985 ( Unframed & Delivered ) Style : Regarded as a pioneer of modern Indian art, ...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...

Suhas Roy - Landscape Etching on Paper , 9.5 x 9.5 inches , 1985 Suhas Roy 's mystic woman which he calls 'Radha', either Oil on canvas or soft colored pastel on Paper or board are ...

"Recall the Early 80's" is an original oil pastel and ink drawing by Reginald K. Gee. The artist signed the piece in the lower right. This colorful abstract piece is the artist's rec...

"Untitled" is an original color pencil drawing by Angelika Thusius. The artist signed with her initial in the lower right. This drawing depicts a seated female figure. This piece is ...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

"Raku Vase with Fireworks" is an original ceramic vase by Marty Marcus. The artist signed the piece on the bottom. It features brightly colored abstract patterns on an earth-toned background. The vessel is a unique piece of décor priced well under $900. Part of the Design Lovers Sale...

"Fishing Deer" is an original ceramic sculpture by Bill Reid. The artist signed the piece on the back and the title is stamped into the front. Reid's narratives have many humorous de...

"Chicago International Art Exhibition" is a color poster by Ed Ruscha, signed and dated lower right. The artists initials are also in the lower right of...

"Royal Applause" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower left with graphite. This piece featur...

"Gnomes I, II, & III" are three original etchings by Jenny Tapping. Each etching is signed, titled, and numbered by the artist, and all three are in one frame. Each etching depicts a...

"After Sweeping the Garden" is an original work in alkyd paint on canvas by Fred Reichman. The artist signed the painting in the darker pink section in t...

"Galerie Maeght" is an offset lithograph poster after a painting by Marc Chagall. It depicts a large man holding a bouquet of flowers over a building. It was published by Galerie Maeght. 36" x 22 5/8" art Marc Chagall was born in Liozno, near Vitebsk, now in Belarus, the eldest of nine children in a close-knit Jewish family led by his father Khatskl (Zakhar) Shagal, a herring merchant, and his mother, Feige-Ite. This period of his life, described as happy though impoverished, appears in references throughout Chagall's work. The family home on Pokrovskaya Street is now the Marc Chagall Museum...

"Tea Salon" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (126/200) in the lower left. This piece dep...

This poster, produced for an exhibition at the Milwaukee Art Museum, features the bold work of American architect and designer Frank Lloyd Wright. Beneat...

"Wolf Tracks" is an original color lithograph by Helen Rundell. The artist signed the piece in the plate. This artwork features a winter homestead with wolf tracks going in and out o...

The ceramic sculptures of Wisconsin artist Michael Gross are personal narratives that reveal an unusual mix of earthly magic and primal vitality. The artist works in a variety of forms, including figurines, large vessels and furniture. The present vase is among the top tier of his works from the 1980s, showing multiple playful figures in relief around the vessel. In his Neo-Expressionist style, hearkening to the works of Keith Haring and Jean-Michel Basquiat, the figures are colored in painterly polychrome. Also, not unlike the painted narrative vessels of Ancient Greece, though much more subversive, many of the figures and stories are identified with text: 'King of Fart,' 'Dance Little Sister,' 'Girls for Every Boy,' and 'Beach Boy.' 22 x 13 x 12 inches overall Signed 'Gross' near base Dated 1986 near upper rim SELECTED COLLECTIONS INCLUDING WORKS BY GROSS: Smithsonian American Art Museum, Washington, D.C.; Sharon Lynne Wilson...