South Carolina

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

18th century Swedish secretaire, from Baroque period, circa 1750 in original gorgeous blue/green patinated color with slant front desk with interior features numerous small drawers ...

Spectacular three tier capiz shell chandelier, reminiscent of Panton’s 1964 ‘3DM’ design, is made circa 1965. The circular capiz shell discs are mounted on a wooden ceiling plate by ...

19th century mother-of-pearl crucifix adorned with baroque pearls and mounted on optical calcite. This is a crucifix reliquary from Jerusalem (which is written on the back), created ...

Charles Turzak, 'La Salle and Washington Street (Chicago, Illinois)', woodcut, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impre...

Concrete bird bath with a shell motif. The top and the base are two separate pieces, but fit snuggly together so it won’t topple over. Some wear to the interior of the bird bath. Som...

Early 18th-century Swedish large chest of drawer in brilliant blue finish with gold gilt accent. The top is shaped wood and marbleized traditional style of the era. Drawers are gent...

18th century Italian hand-carved and gilded crown adorned with rutile quartz crystals and baroque pearls. It is mounted on a coordinating gilded fragment with a metal crown base that...

"Youth Reflected Fashion-inspired portrait of two young women posed in traditional jewelry Two young Rendille women proudly standing back to back in the salt flats of the Northern ...

"""Tranquility"" Black and white profile image of a beautiful horse swimming in clear water Profile image of a dark horse swimming in crystal clear water taken, captured underwate...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

"""Mundari's Pride"" Portrait of a long-horned cow looking toward the camera in South Sudan Long-horned cow looking towards the camera with a black & white coat in the cattle camp...

18th century Italian hand-carved and gilded crown adorned with polished agate slices and baroque pearls. It is mounted on a coordinating gilded fragment and free-forming agate coral ...

A large black polished obsidian slab. This piece of obsidian is reflective in nature and it is similar to what the indigenous Mexican Native Americans used for their mirrors. Obsid...

Jacques La Grange, 'Racing in a Storm, 1885', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, wit...

German Lusterweibechen central carved poly chromed figural lady mermaid playing lute with flanking stag antlers, and six electrified foliage scrolled arms chandelier, 19th Century

This three piece outdoor furniture set is a timeless piece of furniture. Composed of durable metal that has been primed and painted and ready to be used on your porch or in your gard...

Edward Landon 'Astral Comic', color serigraph, 1978, edition 25, Ryan 12. Signed, titled, and annotated 'Edition 25' in pencil. A superb, painterly impression, with fresh colors, on ...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

A very handsome Italian 18th century - authentic piece - two door armoire, in original painted finish in soft blue and pale gray tones with inside hanging rails. Wonderful patina - t...

18th century Dutch in original painted oak two peace cabinet with simply carved unusual crest. The double paneled door upper cabinet sits atop three bombé drawers with beautiful deco...

Clinton Adams, 'September Still Life', lithograph, 1956, edition 20. A superb impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches);...

English Georgian chinoiserie red lacquered and figural painted gilt tall case clock, Robert Fleetwood, 18th Century Tall case clock is in working condition.

17th century Italian wood-painted figure of Christ (Provence of Lucca, Tuscany) on a coordinating smoky crystal quartz in matrix base. In Easter celebrations of the Italian Catholic...

18th century Italian hand-carved gold-leaf angel holding a torch with a Himalayan diamond flame and a coordinating naturally formed baroque pearl. The Himalayan diamond takes the place of a candle, which originally would have lit a great room or alter of a historic church in Italy. Despite the similar sparkling brightness and clarity, these "diamonds" are actually found as doubly-terminated crystals from the foothills of the Himalayan mountains near the borderlines of Tibet and Nepal. Interi transforms European...

Close up of a wild and free horse on Sable Island with a star on his forehead The strength and resilience of these animals comes through in the intensity of their gaze The print se...

American Bronze three tiered garden sculpture fountain of three children playing on shoulders and resting on a decorative plumbed circular plinth, Mid 19th Century

19th century French painted commode with Neoclassical infulence, straight lines, updated paint but retain Gilt bronze mounts. Paneled four drawer fronts and side panels. Shaped top w...

"Windy Solitude" This best-selling image features a single horse on Sable Island as he looks back at the camera. " The print series Discovering the Horses of Sable Island documents...

Possibly by Stiffel but, it’s unmarked. Lamp is in great shape. I didn’t notice any dents and no discoloration. It’s in overall very good condition and includes a lamp shade. Height...

Charles Turzak, 'Loop Alley (Chicago)', color woodcut, edition c. 25, c. 1935. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan pa...

Petite squash blossom necklace created in 925 sterling silver and features vibrant blue turquoise with pyrite inclusions. We believe this turquoise to be either Morenci or Kingman tu...

Anton Schutz, 'Westminster Abbey', etching, edition not stated, 1927. Signed in pencil. Signed and dated in the plate, lower left. A superb, richly-i...

In an iconic scene, elephants of all sizes head towards Kilimanjaro Elephants of all sizes walking along dry lake bed with Kilimanjaro in distance Exceptional Creatures is a limite...

Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...

18th century large Italian charming rustic later painted drop front secretary with multiple cubby holes and drawers above two large base drawers on short tapered legs. circa 1780, It...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

"Trimmed in Grace" A young Rendille woman wears the traditional adornments of her culture with honor and pride in this iconic, award-winning portrait. The print series Desert Son...

"Black and white profile portrait of a Friesian horse against a white background Profile portrait of a Friesian horse against a white backdrop This powerful global series explores ...

A richly, exclusively carved Swedish Gustavian period sideboard has reeded paneled doors and drawers with central diamond shape lozenges in hand scraped patina - in classic Gustavian...

Hailey Lever 'Storm Clouds Over Douarnenez, Brittany, France', watercolor, 1904. Signed 'HL' in pencil, lower left. Titled and dated in pencil, on the original mat backing. A fine sp...

Toshi Yoshida, 'Woman In Bagdad', color woodblock print, 1954, edition not stated. Signed, dated, and titled, in pencil. A fine, richly-inked impression, with fresh colors, on cream-wove Japan paper; the full sheet with margins (1/2 to 7/8 inch); minor toning in the margins, otherwise in excellent condition. Self-carved, self-printed. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Exhibited: 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp.168-169; Eugene M. Skibbe, Yoshida Toshi 1911-1999: Diversity, Change, and Continuity in the Yoshida Art Tradition, Andon 53, Society for Japanese Arts, 1996, pp. 5-14; Kendall H. Brown, Yoshida Toshi: The Nature of Tranquility, in, A Japanese Legacy: Four Generations of Yoshida Family Artists, The Minneapolis Institute of Arts, 2002, pp. 72-80; p. 91, no. 55 Exhibition: Japan & Beyond: The Yoshida Family Legacy in Japanese Woodblock Prints, curated by Kendall Brown and Quyen Le, The Ruth and Sherman Lee Institute for Japanese Art, Hanford, CA. February 3, 2004 - March 27, 2004. Collections: Art Institute of Chicago, Clark Center for Japanese Art and Culture, Minneapolis Institute of Art, University of California Merced, University of Oregon (The Lavenberg Collection of Japanese Prints). ABOUT THE ARTIST Yoshida Toshi (1911-1995) began training at the age of 14 under his father, Yoshida Hiroshi, one of the most acclaimed artists of the Japanese 20th-century printmaking revival movement shin-hanga (’new prints’ created in the traditional collaborative system of Japanese printmaking). He studied from 1932 to 1935 at the Taiheiyo-Gakai (Pacific Painting Association), co-founded by his father. Before the Pacific War, Toshi traveled widely with his father in Asia, Europe, Egypt, and the United States. Later he continued his worldwide travels, especially in Mexico, the United States, Canada, and Africa. Following his father’s death in 1950, Toshi began his very personal exploration of abstraction, joining the sôsaku-hanga movement (’creative prints’ wherein the artist is creator, carver, and printer). During this richly creative period (1954 to 1973), Toshi created over three hundred nonobjective designs. In the early 1960s, Toshi returned to large-scale figurative work, concentrating on scenes of African wildlife in its natural habitat, and in 1984 he published the first of many illustrated children's books on African wildlife (Dobutsu Ehon Shirizu), which he continued to produce until the early 1990s. In 1966 he published a book with the artist Yuki Rei...

"White Out" As a thick fog enveloped the harbor, the yacht Victory and other 12-Meter boats lined up waiting for the regatta to start. The suspense and excitement hung in the air. ...

English Mahogany mid-19th century hall bench

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, black impression, on off-white Japan, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collection of: Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

This Gustavian style chest of drawers from Sweden ca 1830-40 in pine wood, painted finish in soft blue with classic details as fluted corners, shaped top, three large drawers with ci...

" Lady's dress watch by Omega measures 6.5 inches long. It weighs 13.3 pennyweights. It has a rectangular platinum case measuring 13.62 by 13.21 mm with bead set round diamond lugs. ...

"Coastal Rays" In this best-selling print, the mist of the Pacific Northwest lends a textural effect to the air and light. Experience the photographic journey through the cultura...

Gorgeous vintage 14k solid yellow gold textured ring featuring a cultured akoya pearl centerpiece, best fits a US size 6.5 finger. " Lady's pearl ring is made in 14 karat yellow gol...

George Elbert Burr, 'Old Cedars – New Mexico', etching, 1920, edition 40, Seeber 218. Signed and annotated '(c) George Elbert Burr Del. et Imp.' in pencil. ...

Ohara Koson, 'Hollyhock and Dragonflies', color woodblock, 'oban tate-e', 1934. Signed 'Shoson' with the 'Shoson' red seal, lower right. A superb, life-time impression, with fresh, ...

Stunning 22k gold 5 Dollar Lady Liberty coin in a 14k yellow gold and diamond frame pendant. Measures 1.25 inches from top to bottom by .9 inch in width and 3mm in depth. Stamped / h...

Beautifully crafted antique Waltham pocket watch in a stunning solid 14k yellow gold hunters case by Keystone (for repair). This pocket watch is circa late 1800's to early 1900's and features a monogram front with floral back, very ornately engraved. Hefty in size measuring 2 inches in diameter by half an inch in depth, 2.7 inches in total length with the bow and crown. This classic pocket watch winds up...

"Black and white image of a mare and her foal walking into a slot canyon An inspiring capture of a mare and her young foal walk into an ethereal slot canyon This powerful global s...

Stunning antique Victorian mourning brooch featuring brilliant diamonds set in 15k gold. This beautifully crafted brooch also has a locket on the back to house a photo or lock of hai...

Charles Turzak, 'The Workers (No. 1)', woodcut, edition c. 50, c. 1935. Signed and titled in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Charles Banks Wilson, 'Old Injun', lithograph, 1948, edition 250, Hunt 39. Signed in pencil. A fine, richly-inked impression, on off-white wove paper, with full margins (1 3/4 to 2 inches), in excellent condition. Published by Associated American Artists. Impressions of this work are in the permanent collections of the following institutions: Ackland Art Museum, Georgetown University...

Vintage 32nd Degree Scottish Rite ring by Herff Jones, created in 10k solid yellow gold and features beautiful enamel. Best measures for a size 11 finger, measures .45 inch at its ta...

Vintage 14k solid yellow gold 32nd Degree Scottish Rite pinky ring with enamel. Best fits a US size 3.25 finger, measures 8mm at its tallest points by 2mm at its smallest points. Mar...