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'Seven Actors in a Dragon Boat' — Edo period Kamigata Woodblock Print
Located in Myrtle Beach, SC
Munehiro Hasegawa, 'Seven Kabuki Actors in a Dragon Boat,' woodblock print, c. 1850, Osaka-e, Kamigata-e. Signed 'Munehiro' in the block, upper left. A fine impression with fresh co...
Category

Mid-19th Century Edo South Carolina

Materials

Woodcut

'Lakeside Shower, Matsue' — Showa-era Woodblock Print
By Kawase Hasui
Located in Myrtle Beach, SC
Kawase Hasui, 'Chihan no Ame, Matsue' (Lakeside Shower, Matsue), color woodblock print, 1932. A fine, atmospheric impression, with fresh colors; the full sheet, from a postwar editio...
Category

1930s Showa South Carolina

Materials

Woodcut

'Sparrows and Bamboo in Snow' — Showa-era 'kacho-e' Woodblock Print
Located in Myrtle Beach, SC
Gesso Yoshimoto, 'Sparrows and Bamboo in Snow', woodblock print, 1930s. Signed 'Gesso', lower left. A superb, impression with fresh colors and pronounced woodgrain, fine bokashi gr...
Category

1930s Showa South Carolina

Materials

Woodcut

Antique 14k Solid Yellow Gold Waltham Pocket Watch Keystone Hunter Case Monogram
By Waltham
Located in Greer, SC
Beautifully crafted antique Waltham pocket watch in a stunning solid 14k yellow gold hunters case by Keystone. 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...
Category

Early 20th Century Unknown South Carolina

Materials

14k Gold, Yellow Gold

'Rain at Shinagawa, Ryoshimachi' — Showa-era Woodblock Print
By Kawase Hasui
Located in Myrtle Beach, SC
Kawase Hasui, 'Rain at Shinagawa, Ryoshimachi' from the series 'Selection of Views of the Tokaido', woodblock print, 1931. A very fine, atmospheric impression, with fresh colors; the...
Category

1930s Showa South Carolina

Materials

Woodcut

Mid 20th Century Revolutionary War Style Marching Drum Wastebasket
Located in Cordova, SC
This darling wastebasket was likely produced around 1976, the big bicentennial of the founding of the United States of America. It’s composed of metal, plastic, leather, and rope. Th...
Category

Late 20th Century American American Colonial South Carolina

Materials

Metal

Antique Marcus & Co Platinum Diamond Pocket Watch Vintage Wind Up Monogram
By Marcus & Co.
Located in Greer, SC
Antique Marcus & Co. pocket watch with dazzling diamonds set in platinum. Featuring a monogram centerpiece, this small but gorgeous watch measures 1 inch in diameter with a total dro...
Category

Early 20th Century Unknown South Carolina

Materials

Diamond, Platinum

Three Strand Graduated Pearl Necklace
Located in Greer, SC
Three Strand Graduated Pearl Necklace ranging from 7.5mm-4.5mm in size. The clasp is an 18kt white gold clasp with a 13mm round scallop style...
Category

Early 20th Century Unknown South Carolina

Materials

Pearl, 18k Gold

'Drop of Life' — from 'Solitude' for Henry David Thoreau's 'Walden'
Located in Myrtle Beach, SC
Naoko Matsubara, 'Drop of Life' for the portfolio 'Solitude', color woodcut, 1971. A fine impression with fresh, vivid colors, on cream laid Japan paper, the full sheet with margins,...
Category

1970s Modern South Carolina

Materials

Woodcut

Vintage 14k Angel Skin Coral Necklace Hand Knotted Beaded Yellow Gold 16"
Located in Greer, SC
"Coral necklace has an oval clasp made in 14 karat yellow gold, stamped 14K. It is oval shaped, pierced, box style with a fold-over safety. Center is an oval prong set coral. One (1...
Category

Mid-20th Century Unknown South Carolina

Materials

Coral, 14k Gold, Yellow Gold

An intimate portrait of a Friesian horse filling the frame
By Drew Doggett
Located in US
"An intimate portrait of a Friesian horse filling the frame Close up portrait of a Friesian filling the frame in black and white This powerful global series explores horses in di...
Category

2010s Minimalist South Carolina

Materials

Archival Pigment

17th Century Italian Hand-Carved and Gilded Crown with Himalayan Diamonds
By Interi
Located in Dublin, Dalkey
17th century Italian hand-carved and gilded crown adorned with herkimer diamonds and mounted on an antique gold base. This was original from a historical Italian church and would ha...
Category

17th Century Italian Rococo Antique South Carolina

Materials

Quartz, Rock Crystal, Gold Leaf, Metal

Vintage 1851 Liberty Head Gold Dollar Coin Ring 14k Yellow Gold Frame Size 7.5
Located in Greer, SC
1851 Liberty Head gold dollar coin encased in an open metalwork 14k solid yellow gold setting. This unique ring best fits a size 7.5 finger and measures 15.5mm at its tallest points ...
Category

20th Century Unknown South Carolina

Materials

14k Gold, Yellow Gold

Kuhn, Loeb, Co. Wall Street Banking Trunk, circa 1920s
Located in Cordova, SC
# Rare Kuhn Loeb & Co. Wall Street Banking Trunk, Circa 1920s I'm pleased to present an exceptional piece of American financial history: an authentic Kuhn Loeb & Co. banking trunk f...
Category

Early 20th Century American Industrial South Carolina

Materials

Brass, Copper, Sheet Metal

Cowboy on his horse rising above the dust in an ethereal moment
By Drew Doggett
Located in US
"Cowboy on his horse rising above the dust in an ethereal moment Black and white image of a cowboy on his horse riding in the dust This powerful global series explores horses in di...
Category

2010s Minimalist South Carolina

Materials

Archival Pigment

'Dei Praestitis Signumexaere' — 18th Century Classical Italian Realism
Located in Myrtle Beach, SC
Giovanni Domenico Campiglia, 'Dei Praestitis Signumexaere' (God's Providence Signumexaere), engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. E...
Category

1730s Realist South Carolina

Materials

Engraving

Vintage Cartier 18k Diamond Ring Engagement Solid White Gold Signed US Size 6
By Cartier
Located in Greer, SC
Vintage 18k solid white gold Cartier ring featuring dazzling diamonds, signed on the interior of the band. Best measures for a US size 6 finger, measures .2 inch at its tallest point...
Category

20th Century Unknown South Carolina

Materials

Diamond, 18k Gold, White Gold

18th Century Swedish Rococo Period Painted Chair
Located in Charleston, SC
18th century side chairs from the Rococo period 1750-1775 in Sweden. Painted in a ockra yellow, very classic model with feet ending with the claw and ball. Slip seat upholstered in ...
Category

18th Century Swedish Rococo Antique South Carolina

Materials

Linen, Wood, Paint

'Taos Placita' — American Southwest Regionalist Masterwork
By Gustave Baumann
Located in Myrtle Beach, SC
Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: New Mexico Museum of Art, Phoenix Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...
Category

1940s American Modern South Carolina

Materials

Woodcut

Wide 925 Sterling Silver Cuff Bracelet Signed P. Benally Coral Shadowbox
Located in Greer, SC
925 sterling silver cuff bracelet with stampwork and shadowbox design. Features vibrant coral cabochons and is signed P. Benally Sterling on the interior of the cuff. Measures 1.25 i...
Category

20th Century North American South Carolina

Materials

Coral, Sterling Silver

Italian Hand-Made Silver Madonna and Child from Sicily in Antique Wood Frame
By Interi
Located in Dublin, Dalkey
Italian hand-hammered silver Madonna and child from Sicily, detailed with gold and light red-wine hues, perfectly coordinating with the original Sicilian wood frame. The inner frame ...
Category

20th Century Italian Rococo South Carolina

Materials

Gold Leaf, Silver

'Wading Egret' — Japanese Woodblock kacho-e
By Ohara Koson
Located in Myrtle Beach, SC
'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with fresh colors,...
Category

Early 1900s Naturalistic South Carolina

Materials

Woodcut

19th Century Purple Bottles and Jars- Set of 16
Located in Cordova, SC
This large collection of antique purple glass bottles is great for starting or adding to your bottle collection. A lot of these bottles we...
Category

19th Century American Other Antique South Carolina

Materials

Glass

'Garyu no sakura' (The Lying Dragon Cherry Tree, Gifu) — Sosaku Hanga Woodblock
Located in Myrtle Beach, SC
Hajime Namiki, 'Garyu no sakura (The Lying Dragon Cherry Tree, Gifu)', color woodcut, 2003, edition 200. Signed in pencil and with the artist’s red seal....
Category

Early 2000s Contemporary South Carolina

Materials

Woodcut

The House of Shango — African American artist
By Samella Lewis
Located in Myrtle Beach, SC
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. 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...
Category

1990s Realist South Carolina

Materials

Lithograph

'Unemployed Marchers' — American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression on off-white, wove paper, w...
Category

1930s American Modern South Carolina

Materials

Lithograph

Vintage Singer Sewing Machine - Work Table
By Singer
Located in Cordova, SC
An antique oak sewing machine table with an iron base. As you can see in the first pictures it is of the table in the open position. The antique s...
Category

Early 20th Century American Arts and Crafts South Carolina

Materials

Iron

'Apple Blossoms III' — Modernist Representation
By Fairfield Porter
Located in Myrtle Beach, SC
Fairfield Porter, 'Apple Blossoms III', color lithograph, 1974, edition 50. Signed, numbered '17/50', and annotated 'III' in pencil. A superb, richly-inked impression, with fresh col...
Category

1970s Modern South Carolina

Materials

Lithograph

'Partners' — Mid-Century Modernist Regionalism
By Dale Nichols
Located in Myrtle Beach, SC
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...
Category

1950s American Modern South Carolina

Materials

Lithograph

'North Bank of the Chicago River' — WPA Graphic Modernism
By Charles Turzak
Located in Myrtle Beach, SC
Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...
Category

1930s American Modern South Carolina

Materials

Woodcut

Mid Century Modern Metal Outdoor Furniture Set- 3 Pieces
By Salterini
Located in Cordova, SC
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...
Category

1950s Unknown Mid-Century Modern Vintage South Carolina

Materials

Iron

'The Gateway to the New World' — Vintage New York City
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...
Category

1920s American Modern South Carolina

Materials

Etching

Vintage Platinum Aquamarine Ring Solitaire Signed 10% Irid Plat US Sz 7.5
Located in Greer, SC
"Lady's aquamarine solitaire ring is made in platinum, stamped 10% Irid Plat, weighs 2.5 pennyweights, cast construction, bright finish, workmanship shows good attention to detail, s...
Category

Early 20th Century Unknown South Carolina

Materials

Aquamarine, Platinum

'Poppy' — Art Deco Pochoir from the acclaimed portfolio 'RELAIS'
By Edouard Benedictus
Located in Myrtle Beach, SC
Edouard Benedictus, 'Poppy' from the portfolio 'Relais', plate 14, color pochoir, 1930. Signed in the matrix, in the center bottom margin. A superb, richly-inked impression, with fresh, vibrant colors, including metallic gold and silver inks, on heavy, cream wove paper; the full sheet with margins (1 3/8 inches), in excellent condition. Published by Éditions Vincent, Fréal et Cie, Paris. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Matted to museum standards, unframed. Image size 14 3/8 x 11 inches (365 x 279 mm); sheet size 17 1/4 x 13 7/8 inches (438 x 352 mm). Impressions of this work are held in the following museum collections: Cooper-Hewitt National Design Museum Library (Smithsonian), Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Toledo Museum of Art, Victoria and Albert Museum (London), Virginia Museum of Fine Arts. ABOUT THIS WORK The Pochoir process is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by virtue of its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Edouard Benedictus (1878 -1930), artist, designer, composer, and chemist, was born and died in Paris. A highly-regarded designer and art critic of the Art Nouveau era, Benedictus gained renown as a colorist and creator of Art Deco-inspired geometric and floral motifs. His work had a significant influence on international fashions in clothing, home furnishings, graphic design, and decorative objects of the period, earning him commissions from leading European design firms. In 1925 he was invited to represent Art Deco textile design...
Category

1930s Art Nouveau South Carolina

Materials

Stencil

Vintage 10k Chain Bracelet with 14k Charms Solid Yellow Gold Fine Jewelry Golf
Located in Greer, SC
Stunning vintage charm bracelet featuring a 10k solid yellow gold chain bracelet accompanied by many 14k solid yellow gold charms. Quite an eye catcher with a variety of charms rangi...
Category

Late 20th Century Unknown Modern South Carolina

Materials

10k Gold, 14k Gold, Yellow Gold

Untitled (Black Woman Crouching)
By Boris Lovet-Lorski
Located in Myrtle Beach, SC
Boris Lovet-Lorski, 'Untitled (Black Woman Crouching)', lithograph, edition 250, 1929. Signed and numbered 16 in pencil. Number 16 of Volume 2, a series of...
Category

1920s Art Deco South Carolina

Materials

Lithograph

Hairdresser — vintage drawing, original 'Superman' artist
By Leonard Nowak
Located in Myrtle Beach, SC
Leonard Nowak, 'Hairdresser', conté crayon and India ink, c. 1940s. Signed in ink, lower left. Original cartoon drawing, on textured, off-white wove draw...
Category

1940s Modern South Carolina

Materials

Conté, India Ink

'Encircled' — Mid-Century Surrealism, Atelier 17
Located in Myrtle Beach, SC
Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...
Category

1940s Surrealist South Carolina

Materials

Engraving

Vintage 14k Cameo Bracelet Carved Shell Woman Solid Yellow Gold Wide Panels
Located in Greer, SC
Vintage multi panel cameo bracelet, created in solid 14k yellow gold. Features 5 right facing carved shell cameos in detailed frames and is stamped " 14K " on the clasp. Measures 7 i...
Category

Mid-20th Century Unknown South Carolina

Materials

14k Gold, Yellow Gold

Vintage Cartier Alwand Vahan 925 Sterling Silver Horse Brooch Pin Signed Jewelry
By Alwand Vahan
Located in Greer, SC
Rare vintage sterling silver horse brooch by Alwand Vahan for Cartier. This exquisite work of art shows the great craftsmanship of VAHAN, founded i...
Category

Late 20th Century American Modernist South Carolina

Materials

Sterling Silver

'Coenties Slip' — Lower Manhattan, Financial District
By Luigi Kasimir
Located in Myrtle Beach, SC
Luigi Kasimir, 'Coenties Slip', color etching with aquatint, 1927, edition 100. Signed in pencil. Dated in the plate, lower right. Annotated 'NEW YORK HANOVER SQUARE (COENTIES SLIP)'...
Category

1920s American Modern South Carolina

Materials

Etching, Aquatint

St. Ives Harbor, Cornwall, England — British Post-Impressionism
By Hayley Lever
Located in Myrtle Beach, SC
An early 20th-century Hayley Lever watercolor depicting fishing boats docked at the St. Ives Harbor, Cornwall, England. A fine, spontaneous rendering on watercolor paper, with fresh ...
Category

Early 1900s Impressionist South Carolina

Materials

Watercolor

'Weeping Cherry 16 A' — Sosaku Hanga Contemporary Japanese Printmaker
Located in Myrtle Beach, SC
Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil with the artist’s red seal. Titled, dated, and numbered ...
Category

2010s Showa South Carolina

Materials

Woodcut

'The French Farm' — Mid-Century Modernism
By Edward August Landon
Located in Myrtle Beach, SC
Edward Landon, 'The French Farm', color serigraph, 1942, Ryan 86. Signed, titled, and annotated 'Edition 50' in pencil. A superb impression, with fresh colors, on cream, wove paper; ...
Category

Mid-20th Century American Modern South Carolina

Materials

Screen

'Lot Cleaning, Los Angeles' — 1930s Modernism
By Paul Landacre
Located in Myrtle Beach, SC
'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...
Category

1930s American Modern South Carolina

Materials

Woodcut

1970s Sam Trophia Acrylic Lucite Butterfly Shadowbox
Located in Cordova, SC
1970s Sam Trophia lucite / acrylic shadow box which depicts a dozen different butterfly beauty preserved and suspended in art form in a spectrum of ...
Category

1970s American Other Vintage South Carolina

Materials

Lucite

'Public Building' — American Modernism, WPA
Located in Myrtle Beach, SC
Fred Becker, 'Public Building', wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. A superb, richly-inked impression, on cream wove Japan...
Category

1930s Modern South Carolina

Materials

Woodcut

Platinum Natural Diamond Sapphire Engagement Ring Three Stone Signed PLAT 950
Located in Greer, SC
"Diamond and sapphire ring is made in platinum, stamped Plat 950, marked AJD, weighs 5.3 pennyweights, bright finish, workmanship shows good attention to detail, well finished, setti...
Category

21st Century and Contemporary Unknown South Carolina

Materials

Diamond, Sapphire, Platinum

Two Iconic, Large Elephants Walking Across Amboseli National Park, Wildlife
By Drew Doggett
Located in US
"Titans of Time" The world’s two largest tusked elephants, Tim & Craig, can go months without crossing paths so seeing the two together is one of the most extraordinary sights in th...
Category

2010s Contemporary South Carolina

Materials

Archival Pigment

'Manhattan Old and New' — Vintage New York Cityscape
By Samuel Chamberlain
Located in Myrtle Beach, SC
Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...
Category

1920s American Modern South Carolina

Materials

Drypoint

'Pulitzer Fountain, Evening" — 1940s American Modernism, New York City
By Ellison Hoover
Located in Myrtle Beach, SC
Ellison Hoover, 'Pulitzer Fountain, Evening', lithograph, circa 1940, edition c. 40. Signed in pencil. A fine, atmospheric impression, on cream wove paper; the full sheet with margins (1 1/2 to 4 5/16 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 12 1/2 x 9 5/8 inches (318 x 244 mm); sheet size 16 1/4 x 12 1/4 inches (413 x 311 mm). ABOUT THE SUBJECT The Pulitzer fountain was commissioned as a bequest by Joseph Pulitzer, newspaper publisher and founder of the Columbia School of Journalism. Designed by Austrian sculptor Karl Bitter...
Category

Mid-20th Century American Modern South Carolina

Materials

Lithograph

'Archway' — American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Archway', color serigraph, 1939, edition 25. Signed, dated, titled, and numbered ' /25' in pencil. A rich, painterly impression, with fresh colors, on buff wove paper; ...
Category

1930s American Modern South Carolina

Materials

Screen

Ornate Cut Steel Center Table
Located in Charleston, SC
Elevate your space with this striking mid-century steel center table, showcasing exceptional craftsmanship and intricate artistry. The oval tabletop features a beautifully cut floral...
Category

Mid-20th Century American Brutalist South Carolina

Materials

Steel, Cut Steel

'Starry Night' — 1930s American Modernism
By Rockwell Kent
Located in Myrtle Beach, SC
Rockwell Kent, 'Starry Night' wood engraving, 1933, edition 1750, Burne Jones 103. Signed in pencil. A brilliant, black impression, on cream wove Japan paper; with margins (7/8 to 1 ...
Category

1930s American Modern South Carolina

Materials

Woodcut

'Grand Central, Night' — 1920s New York City Realism
By Walter Tittle
Located in Myrtle Beach, SC
Walter Tittle, 'Grand Central Night', drypoint, edition not stated, c. 1920s. Signed in pencil. Titled, and annotated '36.00' and with the inventory numb...
Category

1920s American Impressionist South Carolina

Materials

Drypoint

Lichtenstein Paper Plate — Pop Art Icon
By Roy Lichtenstein
Located in Myrtle Beach, SC
Roy Lichtenstein, 'Paper Plate', serigraph, 1969, edition unknown, Corlett III.45. Printed in dark blue ink verso, 'Roy Lichtenstein © On 1st Inc. 1969'. A fine impression, on white paperboard pressure formed into a 3-dimensional plate; age toning verso, otherwise in very good condition. Published by Bert Stern, New York. Image size 10 1/4 inch diameter, 1-inch depth. Archivally sleeved, unmounted, unframed. Carefully protected for shipping. Literature: John Russell. 'Art: Time for Old-Master Prints', New York Times (July 27, 1979), p. C16. Jan Howard. 'Reflections on 'The Prints of Roy Lichtenstein', Print Collector's Newsletter 26 (July–August 1995), p. 82. Mark M. Johnson. 'The Great American Pop Art Store: Multiples of the '60s', Art & Activities 123 (June–Summer 1998), ill. p. 37 (color). Mary Lee Corlett. 'The Prints of Roy Lichtenstein: A Catalogue Raisonné', New York, 2002, p. 286, no. III.45. Susan Dackerman, ed., 'Corita Kent and the Language of Pop', exhibition catalog, Harvard Art...
Category

1960s Pop Art South Carolina

Materials

Screen

Large Polished Black Obsidian Mirror
By Interi
Located in Dublin, Dalkey
Black polished obsidian slab - similar to what the indigenous Mexican Indians used for their mirrors. Obsidian is a naturally occurring volcanic glass formed when lava extruded fro...
Category

21st Century and Contemporary Mexican Organic Modern South Carolina

Materials

Rock Crystal

Eduardo Miguel Abela Torras surrealist Oil on Canvas
Located in Charleston, SC
This painting appears to be in a fantastical surrealism or whimsical fantasy style. The artwork features an imaginative, dreamlike cityscape with intricate architectural details, org...
Category

Late 20th Century Ecuadorean Expressionist South Carolina

Materials

Canvas, Wood, Paint

Early 20th Century Barbola Mirror
Located in Charleston, SC
This Antique Barbola Mirror brings a touch of vintage charm to any room. The oval frame, finished in a captivating mirrored effect, showcases a delightful blend of multicolor hues th...
Category

1930s English Art Nouveau Vintage South Carolina

Materials

Mirror, Paint

18th Century Italian Gilded Tabernacle with a Hand-Carved Chalice Fragment
By Interi
Located in Dublin, Dalkey
18th century Italian gilded and hand-carved tabernacle adorned with an 18th century Italian gilt chalice and Sabina Faye Braxton gaufrage fabric. This tabernacle once belonged in a h...
Category

18th Century Italian Rococo Antique South Carolina

Materials

Gold Leaf

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