Manhattan

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS ARTIST: Natasha Martin is an LA-based photographer who loves color and infusing dre...

A wonderful composition of one of Slonem's most iconic subjects, Butterflies. This piece depicts delicate butterflies in ascension placed in a wonderful colorful, gold and silver ton...

This exquisite wall-mounted console table by Grosfeld House epitomizes the elegance and craftsmanship of American Art Deco furniture design circa 1940. Constructed from ebonized waln...

This elegant mid-century modernist abstract sculpture by renowned Italian glassmaker Seguso is a masterful work of hand-blown Murano glass design. Dating to circa 1960, the abstract ...

ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...

This striking Murano glass vase is a modernist marvel, hand-blown in textured layers of white and apricot shades with abstract fluidity. Designed in Italy, this vase merges contempor...

Fabulous estate Tiffany & Co. 18K yellow gold and sterling silver Spider cuff bracelet 2001 Large scale beautiful Tiffany Spider statement cuff in exce...

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Classic Antique Style Real Looking 10-carat Man-Made Burma Sapphire and 4-carat white Cushion Diamond Cut CZ Costume Jewellery Ring. Our ring is a classic British Royal Style Three...

This striking pair of Mid-Century Modern lounge chairs combines bold sculptural design with unmatched craftsmanship, exemplifying the timeless aesthetic of 1950s American design. Cra...

Anish Kapoor Untitled (with Curls), from 15 Etchings (from the Equitable Assurance Gallery collection), 1996 Etching on Zerkall paper Pencil signed and numbered 21/30 on the front; b...

Crafted from solid, natural Malachite, this one-of-a-kind hand-carved decorative box is a singular work of art featuring the stone’s signature swirling green banding, contrasting bul...

This magnificent mid-century modernist hand-blown Murano glass bowl is a testament to the unparalleled artistry and innovation of Italian glassmaking. Crafted with meticulous skill, ...

Crafted from solid, natural Malachite, this sizable hand-polished crystal sphere is a work of art: foregrounding the stone’s signature swirling green banding, contrasting bullseyes, ...

An iconic design by legendary American studio craftsman Paul Evans, this mid-century Brutalist wall-mounted cabinet exemplifies his innovative artistry and bold industrial aesthetics...

This striking Art Deco mantlepiece clock is a refined representation of French design from the 1930s. The clock is crafted from an elegant combination of Featuring grey nero marquina...

Large Scandinavian Modernist natural cabochon Baltic amber and sterling silver cuff bracelet, maker's mark WK 20th Century Centered by a stunning natural oval amber cabochon measurin...

Harry Winston Style Lab Grown Diamond Cut Cubic Zirconia and 25 carat Lab Grown Emerald Costume Jewellery ring. Our ballerina cluster ring is set with lab 25 carat cushion emerald ...

A sterling silver necklace with a pendant. The pendant has a diamond shape with a large round light blue stone in the center, surrounded by smaller cubic zirconia. Marked with sterli...

Large Eight Carats Each Lab CZ Diamond Cut Sterling Antique Style Ear Studs Antique Cut Large Eight Carats Each Lab CZ Diamond Studs crafted with our own lab-grown D-grade brillian...

This extraordinary Woolly Mammoth tooth from Siberia is a true relic of the Ice Age, dating back tens of thousands of years. With its distinct ridges and well-preserved texture, this...

Harry Winston Smithsonian Spanish Inquisition Necklace Costume Jewelry Replica. Made for an exhibition of Famous Art Deco Jewels, our replica is one of a kind and is of museum-qualit...

This extraordinary fossilized dire wolf skull is a rare and remarkable artifact that offers a glimpse into the Ice Age. Featuring well-preserved bone structure, this specimen is a te...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Isamu Noguchi tripod table lamp composed of cherry and fiberglass reinforced polyvinyl. Designed in 1947 and produced by Knoll as model no. 9. A strikingly clean example of this icon...

A ladies silver bracelet features a symmetrical design with repeating links, each consisting of a central round light blue stone surrounded by small clear stones. A safety chain is a...

Scarce 18K yellow gold Angela Cummings snake ring 1986 The snake motif is one of the most loved in jewelry design, symbolizing everlasting love, royalty, wisdom, transformation, reb...

The Art Deco Toi et Moi Love Ring In Costume Jewelry 10 Carat Each Diamond Cut Lab CZ and Lab Emerald Two stunning CZ diamond and cabochon pyramid emerald cuts in the Asscher cut ...

Wonderful pair of large fluted brass lamps with a beautiful Patina. The lamps have been Newly rewired with adjustable polished brass double clusters ...

a mid-20th-century whimsical vintage persian accent square rug Details rug no. j4471 size 4' 8" x 5' 10" (142 x 178 cm)

A circa 1970 rectangular Laverne coffee table. Measurements: Height: 15.5" Width: 48" Depth: 36"

An Italian circa 1900 cast metal statue of Poseidon. Measurements: Height: 27.5" Diameter: 15"

Australian Opal Shell Pendant Australian Opal, Emerald, 14k Gold Carved Australian Opal, 20mm diameter with center 6x5mm emerald. The thick gold ring bail can accommodate a chain...

An articulating wood figure sculpture piece, circa late-20th century. Used as a tool for learning to draw the human figure since the Renaissance. A fun, adjustable, artist model for ...

Kerry James Marshall May 15, 2001, 2003 Four color silkscreen on Arches 88 paper Pencil signed, dated and numbered 39/60 on the front. Bears printer's blind stamp Vintage frame incl...

Capturing the romantic city of lights, Dietz Edzard celebrated canvases depict the times of his generation, portraying life in all of its glory, although faced with hardship and war....

An extraordinary natural sculpture, this Uruguayan double amethyst stalactite formation dazzles with its vivid, deep purple crystals and a perfectly positioned, sharply defined white...

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This elegant two-tier Murano glass chandelier is a sophisticated example of mid-century modernist design and Venetian glassmaking craftsmanship. Featuring a harmonious blend of clear...

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses gold leaf with thick textured oils and glass t...

From the remote heights of the Himalayas comes this exceptional Chlorite-included Quartz Cluster, a naturally sculptural specimen that blends glassy clarity with earthy mineral textu...

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Opal Heart Nexklace Australian Opal, Diamond, Emeralds, 14k Gold 8 carat Australian Opal carved heart (3/4” width) with one 2mm diamond and two 1.5mm emeralds all bezeled in gold o...

This exquisite pair of Art Deco club chairs exemplifies the understated luxury and minimalist elegance synonymous with the iconic work of Jean-Michel Frank. Crafted in France during ...

This Seymchan pallasite meteorite slice is a true natural masterpiece, showcasing a dazzling array of golden-hued Olivine crystals suspended in a lustrous iron-nickel matrix. Careful...

Rare & Unusual Design Collector’s Piece Preowned, Excellent Condition An extraordinary find for collectors and cat lovers alike, this vintage brooch showcases a rare and unusually...

A celebration of floral grace and Italian craftsmanship, this exquisite wall light transforms lighting into a sculptural experience. Inspired by mid-century modern design and the ele...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a soft Pink background with thick use of paint. It ...

Silver gelatin print The present work is hand signed with the artist's copyright, dated 1983, and titled on the back. It is numbered 3 of an edition of only 10. On October 3, 1983, Madonna headlined a memorial concert in honor of Michael Stewart, a graffiti artist in the midst of the AIDS crisis who became a victim of police brutality. Madonna was only 24 years old in 1983, but had already signed her first record deal and was on the cusp of superstardom. In 1984, the year after Madonna appeared in Kroll's shoot, she would release chart hits Like A Virgin, Material Girl and Crazy For You, cementing her place as an international star. This photograph was taken by renowned photographer and editor Eric Kroll backstage at Danceteria - a gritty and popular after hours club and concert venue on West 21st Street in Manhattan, operating out of the first three floors in an old industrial 12-story building. The visible text "ACCUTUNKTIONA TO THE POINT!" and "UNK" are actual, gritty wall graffiti from the venue, adding to the candid nature of the shot. Eric Kroll is a notable photographer, best known for his many fetish subjects, and for documenting America’s seediest spots and denizens, sharing a certain aesthetic with fellow photographers Larry Clark and Richard Kern...

This elegant pair of table lamps were hand blown in Murano, Italy- the islands off the coast of Venice centuries renowned for superlative glass production. Each lamp has three vertic...

Bochic “Capri” Vintage 100 Carat Plus Of Natural Ruby Necklace Set in 18K Gold & Silver Elegant and Chic Italian style Natural Red Ruby - 112 Carats The Bochic "Capri" Multi Rub...

A large Mid-20th Century oil painting depicting a beautiful landscape on a sunny day of the Village Provençal in France. This piece has a strong presence with bold brushwork and heav...

A pair of Italian 1950's gilt sconces with painted flowers. Measurements: Height: 16" Width: 8.5" Depth: 3.5"

This Dioptase cluster from the legendary Tsumeb Mine in Namibia showcases a dazzling array of saturated emerald-green crystals with exceptional luster and clarity. The sharply termin...

Bulgari Parentesi Necklace Choker The necklace is 18k Yellow Gold The necklace is 3/8" wide. The necklace weighs 137 grams The necklace is 15" length Comes with original pouch and ba...

Classic Cartier Love Bracelet 4 Diamonds The bracelet is 18K White Gold There are about 0.42 Carats in Diamonds F VS The bracelet is a size 17cm The bracelet weighs 29.3 grams The se...

Set of 4 circa 1950's Italian carved and giltwood parrot sconces. Sold in pairs. Measurements: Height: 22" Depth: 5.5" Width: 15.5"

Classic Antique Style Real-Looking 10-carat Lab Created Burma Sapphire and 4-carat white Cushion Diamond Cut Costume Jewellery Ring Our Man-Made hand-cut CZ diamonds and sapphires ...

Rare and early “Chan Floral” coffee table in patinated and engraved bronze and pewter with hand-painted blue enamels and lovely botanical motif by Philip & Kelvin LaVerne, American 1...

Diamond Ruby Necklace Bracelet Earring Real Looking Costume Jewellery Set Made in New York, a fine jewellery workshop, this is a one-of-a-kind replica: a real-looking diamond and ruby parure...