Contemporary Introspective

Angela brings vibrant immediacy to her figurative paintings. She uses a depth of colour and bright outlines of her figures to emphasize shape and contours. In all her works Angela gi...

Antony Zega (1962-2019). Monument, ca. 1985. Photographic print, 10 x 10 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Italian giltwood Lyre mirror.

A contemporary conceptual sculpture by Dianne Baker titled "Forest Walk" created in 2013 with wood, metal and leather.

Yuri Larin (1936-2014). Landscape, 1982. Watercolor on paper, 16.5 x 18.5 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper sheet of Russian manufacture. Sheet is carefully hinged at corners and can be removed from cardboard backing with relative ease. Estate of Giovanni and Dagmar Migliuolo, NYC. Giovanni Migliuolo is the former Italian Ambassador to the United Nations, USSR and Egypt. Yuri Larin, also Yuriy Larin (1936–2014) is a Russian painter and graphic artist, a member of the Union of Artists of the USSR since 1977. Larin was born in Moscow to the family of a key Soviet political leader, Nikolay Bukharin, and Anna Larina. Following the arrests of his parents in 1938 and until 1946, he lived with his relatives, and following the arrest of his step-father, he was taken to an orphanage near Stalingrad. A hydraulic engineer by training, he worked at the construction of the Saratov Hydro-Electric Plant and at design institutions. In 1960, he began his studies at the department of drawing and painting of the Krupskaya People’s University of Arts, and then, from 1965 until 1970, he studied at the department of art design at the Moscow State Higher School of Arts and Industry (the former Stroganov Institution). His career as a professional artist began in the early 1970s. From 1970 until 1986, he taught at the Moscow 1905 Memorial Arts School. His letter to prof. Vittorio Strada sent in 1980 contained the first statement of his artistic method he would later dub the “concept of the limit state”. He quit teaching after a serious illness, when he lost the ability to use his right hand. He only worked with his left hand since 1986. He died and was buried in Moscow. Exhibitions: 1981 The sixth All-Union watercolor exhibition. Moscow 1982 Personal exhibition in Moscow Drama Theater after M.N.Ermolova (together with Ye.Kravchenko). Moscow. 1985 The eighth All-Union watercolor exhibition. Moscow 1987 The ninth All-Union watercolor exhibition. Moscow. 1989 Personal watercolor exhibition. Gallery “Books&Company Art”, NY, USA Personal exhibition. The Central House of the Artist on Krymskiy Val, Moscow. 13 Biennale of the countries of the Baltic Region in Rostock, Germany. 1992 Personal exhibition of Russian and German landscapes. Duren, Germany. The exhibition of the Russian graphics. Gallery «Raissa». Erfurt, Germany. 1993 Personal exhibition in exhibition hall of magazine “Nashe Nasledie” (Russian Cultural Foundation), Moscow 1994 Personal watercolor exhibition. Gallery “The Art of the XX century”. Bonn, Germany 1996 Personal exhibition of portraits and landscapes. World Bank Moscow Office 1997 Personal exhibition “From Italian cycle”. The State Institute of Art Studies. Moscow Exhibition “THe Russian Art of the second half of the XX century. Harmony of Contrasts”. The Academy of Arts of the Russian Federation. Moscow. 1998 Personal exhibition “The seasons of Yuriy Larin. From the Russian cycle”. Moscow State Museum of Vadim Sidur. Exhibition of new collections and gifts. Historical-Architectural and Art Museum “New Jerusalem”. Istra. Moscow region. 2000 Exhibition “Image and transformation in art”. The Ministry of Cultural Affairs of the Russian Federation, Russian Cultural Foundation. Moscow Personal exhibition “German landscapes in the eyes of the Russian artist”. Gallery “Yunge”, Dortmund, Germany. 2001 Exhibition “East and West”. Historical-Architectural and Art Museum “New Jerusalem”. Istra. Moscow region. Exhibition devoted to nudes. Gallery on Peschanaya. Moscow. 2002 Personal exhibition “Yuriy Larin. The works of different years”. Bulgarian Cultural Center, Art-studio “TAGRY”. Moscow. 2004 Personal exhibition “YURIY LARIN. Harmony and plasticity”. Radischev Saratov State Art Museum. 2006 Personal exhibition “Saint-Pol-de-Mar”. Exhibition hall of Magazine “Nashe Nasledie”. Moscow. 2011 Personal exhibition “Harmony and plasticity. The artist Yuriy Larin’s works”. Museum-reserve Tsaritsyno. Moscow. 2013 Personal exhibition and album presentation. Yuriy Larin “Selected”. Gallery “Kino”. 9-18 October, 2013 Personal exhibition “Yuriy Larin’s space”. State Literature Museum. January, 29 - February, 23 2015 Personal exhibition “The reality of the space lighting” The gallery of Nazarov. Lipetsk. March, 14- April, 11. Personal exhibition “Yuriy Larin. Monolog of a happy person” State Museum of St.Petersburg’s History. Petropavlovskaya fortress, Nevskaya courtina.July, 30 - September, 13 2016 Personal exhibition “Yuriy Larin. Art- timeless plot. Yaroslavl Art Museum. December, 12, 2015 - February, 18, 2016 2016 Personal exhibition “The geography of light. Art and graphic of Yuriy Larin”. Moscow. Noviy Manej. April. 1 - April, 24, 2016 Museum Collections: The State Russian Museum Saint Petersburg The State Tretyakov Gallery Moscow The State Museum of Oriental Art Moscow Radischev Art Museum in Saratov Saratov Historical-Architectural and Art Museum “New Jerusalem” Istra (Moscow Region) Branch of the State Museum of People’s Art in Armenia Dilijan The Union of Art Museums and the centers of aesthetic education of the republic Udmurtiya Ijevsk Volgograd Museum of Fine Arts Volgograd Tomsk Regional Art Museum Tomsk Eastern-Kazakhstan Art Museum Semey Moscow State Museum of Vadim Sidur Moscow Andrey Sakharov Museum Moscow State Literature Museum Moscow The collection of the magazine “Nashe Nasledie” Moscow The collection of the Heinrich Boell Foundation Berlin Chronology: May, 8, 1936 Yuriy Larin was born in Moscow in a family of a prominent statesman Nikolay Ivanovich Bukharin and Anna Mikhaylovna Larina; 1938–1946 years After his parents’ arrest the artist was brought up by his relatives- Boris Izrailevich and Ida Grigorievna Gusman 1946 After B.I.Gusman’s arrest was raised in an orphanage from the age of 10 near Stalingrad (Volgograd); Since the childhood the artist demonstrated his turn for arts that he inherited from his father (it’s known that N.I.Bukharin was a gifted artist-amateur). 1949 Sent to the camp. 1956 At the age of twenty when A.M.Larina returned from the Stalinist camp, learned for the first time his father’s name which was N.I.Bukharin; 1958 Graduated Novocherkassk Engineering-Melioration Institute, which he was enrolled into under the influence of his farther B.I.Gusman. 1958-60 Work as hydraulics civil engineer on the construction of Hydroelectric Power Station in Saratov and in project organizations; Underwent tuberculosis 1960 With his mother A.M.Larina got permission to come back to Moscow; Started distance education at People’s University of Arts after N.K.Krupskaya at the department of drawing and painting (professor A.S. Trofimov) 1970 Yuriy Larin graduated from Moscow State Higher Art-Industry School ( Stragonovka), faculty of artwork development (industrial design), enrolled in 1965; Starts his career of a professional artist; from 1970 to 1986 teaches at Moscow Academy of Art in remembrance of 1905; here starts long creative cooperation with V.A.Volkov, the son of the prominent Soviet artist A.N.Volkov. Gets married. The wife - Inga Yakovlevna Ballod, an architect by training, writer and journalist. 1970-1974 Worked from life on landscapes (watercolor and oil). Works in traditional realistic direction, the main aim is to deliver different conditions of the nature (landscape conditions) 1972 Welcomes his son Nikolay from 1972 Takes part in Moscow, Russian and All-Union exhibitions; the second half of the 1970s Works on portraits, still-lifes, nude, continuing working on landscapes 1974 Trip to Kuban as a part of the group of the Union of Artist of RSFSR, the creation of watercolor landscapes of local nature, which set the beginning of the cycle “Caucasus”; Yuriy Larin works harder on the creation of his own formal signature, and on his own theory of art (for details see the letter of Y.Larin to V.Strada) 1975 First trip to the House of Creativity of the Union of Artists “Goryachiy Klyuch”, creation of new watercolors of Caucasus cycle. 1976 The end of the nature period. As a turning point in the artist’s career was a period when he worked at the House of Creativity “Cheluskinskaya” near Moscow. Starting from this period landscapes, portraits and still-lifes are drawn from memory. Using only some pencil sketches that are done from real life. Long walks around the neighborhoods of Cheluskinskaya, trips to Abramtsevo, Klazma served as a strong impetus to the development of cycle of Moscow region landscapes. 1977 Became part of Moscow Union of Artists in USSR. “Watercolors of Y.B.Larin are the world of senciar relationships between the artist and nature. The plots of his works are extremely simple, unsophisticated, but behind all that there is a whole concept: the living nature is shaped by the eyes of the artist into one-piece space masses, human creations as ships, cranes, bridges get soft, kind forms; dissolved they become part of complete, modern and artistically convincing form” (V.A.Volkov. From the reference given to Y.Larin to become part of Moscow Union of Artists in 1975) “Yuriy Borisovich Larin appears to me as a serious and deep artist,... mature artist. His watercolors are of proof of having coloristic gift, high culture and material understanding” (M.P.Miturich. From the reference given to Y.Larin to become part of Moscow Union of Artists in 1975) 1977 Yuriy Larin directs a group of young Moscow artists in their trip to Olskiy area of Magadan region. Creates a series of landscapes of Magadan nature. 1980 In the letter to V.Strada finally justifies the theoretical part of his artistic method, later calls it the concept of limit state. The end of the 1970s - the beginning of the 1980s Devoted four years to the translation of the book of S.Cohen, professor of Princeton University, about N.I.Bukharin. Ye.A.Gnedin was helping him to translate the book, they were meeting every Thursday. Afterwards, while publishing the Russian version of the book in the USA the translators Y.LArin and Ye.Gnedin were credited under pseudonyms Ye. and Y. Chetvergovy. Yevgeniy Alexandrovich Gnedin is a prominent Soviet diplomat, staff member of M.M. Litvinov, died in 1983. Y.Larin considers him to be one of the most incredible people of the XX century. Meets famous collectionner from Moscow Ya.Ye. Rubinshtein, who buys six works of the artist (oil and watercolor); Fall, 1981–1982 Again works at the House of Creativity “Goryachiy Klyuch”. As a result the Caucasus series are enlarged with first oil works. The long contact with the nature of Caucasus influenced greatly the creative development of the artist. 1980 The artist creates the cycle of the watercolors of Moscow region in winter, the part of which will be purchased by Ya.Ye. Rubinstein and the Russian Museum; V.Volkov indicated in the works “a new approach to the light” Fall, 1981–1982 Again works at the House of Creativity “Goryachiy Klyuch”. As a result the Caucasus series are enlarged with first oil works. The long contact with the nature of Caucasus influenced greatly the creative development of the artist. 1982 First own exhibition in Moscow Drama Theatre after M.N.Yermolova (together with Ye.N.Kravchenko). Mostly presented the paintings of the last decade that were painted in the central Russia, Krasnodar and Magadan regions. The exhibition and the discussion that took place afterwards helped to open up Y.Larin. He met the ambassador of Italy to USSR Giovanni Migliuolo and became friends for a long period of time. 1979-1985 Within a few years during summer vacations Yuriy Larin works in Baltic. Creates a cycle of graphic watercolors on German paperboard. The landscapes on the constructive base greatly differ from Moscow and Caucasus cycles. Fall, 1983 Trip to Armenia with his close friend Yu.M. Garushyants, historian. The result of that trip were thirty watercolor papers that continued the Caucasus cycle. 1985 In the almanac “Soviet Graphic” there is a publication about the watercolors of the artist that was written by G. Yelshevskaya. December, 1985 Underwent the neurosurgery; as a consequence the loss of strength and skill in his right hand. 1987 Death of his wife Inga Ballod  First personal exhibition overseas: exhibition of watercolors in the gallery Books&Company Art, NY, USA. Since then takes part in different foreign exhibitions. 1988 N.I.Bukharin’s rehabilitation, after that Yuriy Larin was able to change his patronymic “Borisovich” to “Nikolayevich” 1989 Gets married. The wife - Olga Arsenyevna Maksakova, doctor, Lead researcher at the Institute of neurosurgery named after Burdenko. Personal exhibition in Central House of Artists in Krymskiy Val. Displayed over two hundred of watercolor and oil paintings...

1980s Italian glass chandelier. Darkest at the top and the color gradually gets lighter towards the bottom.

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

1960s green marble owl sculpture on composition base Signed by Elison.

Chirpy, bobbing boats are a large part of the Welsh coastline narrative. These little boats set out daily to catch a crop of shellfish and fish. Each craft is cheerfully painted and ...

Ludwig Bemelmans (1898-1962). Perfect Service, ca. 1950. Brushed ink on paper, 19 x 24 inches. Annotated and authenticated by wife, Madeleine Bemelmans, in pencil en verso, 1979. Identified as illustration appearing on page 414 in La Bonne Table, (Simon and Schuster), 1964. Unframed. Conservation work includes removal of tapes from verso corners, surface dry clean, removal of mat line and light exposure stains, deacidification and flattening. "Writing is always a dreadful, tiresome business and the worst of all tortures for me, because I am convinced that I am not a writer but a graphic workman, a painter who hangs pictures in a row, who collects imagery, and my problem is always to find one for a beginning and one for an end and then, something to hang in the middle so that it resembles a book," said Ludwig Bemelmans (1898 - 1962). Graphic workman, painter—whatever he called himself, Bemelmans belongs in the Pantheon of illustrators. A relentless connoisseur of life, he drew with a child's eye and wrote with the shrewd wit of an adult. He knew everyone worth knowing, went everywhere worth visiting, all the while recording what he saw on the backs of menus, envelopes, or on the inside covers of matchbooks. His resume was a checkerboard: hotelier, restaurateur, cartoonist, ad man, theatrical designer, novelist, screenwriter, interior decorator, journalist, and children's book author. What made Bemelmans such a creative powerhouse He confessed, "My greatest inspiration is a low bank balance." His best-remembered work, of course, is the series of picture books starring that beguiling schoolgirl, Madeline. "I like to write for children because I suffer from a sort of arrested development. I am about six years old really," Bemelmans said, "and I am constantly surprised by everything." He knew that the Madeline books were his lasting legacy, yet it surely would have surprised him to find that they have sold upwards of ten million copies, and that the thriving Madeline merchandise empire now encompasses DVDs, dolls, board games, backpacks, tea sets, and stickers. Bemelmans' world ranged from yachts and limousines to garrets and subways, and was peopled with moppets, jewel thieves, Ecuadorian Generals, and feather boa-clad vamps. His drawing style, humorous and reductive, captures all this in a flash. "I sketch with facility and speed," he wrote. "The drawing has to sit on the paper as if you smacked a spoon of whipped cream on a plate." Born in Meran, Austria, and bred in Tyrolean hotels, Bemelmans came to the States at 16 and landed at the Ritz-Carlton. There he learned "to press a duck, open a bottle, and push a chair under a lady." While working his way from busboy to banquet manager, he drew, often using William Randolph Hearst's empty suite as his studio. The Ritz staff and clientele provided him with a rich menu of subjects, and he returned again and again to hotel life for inspiration. He first set his heart on becoming a cartoonist. His earliest effort, The Thrilling Adventures of Count Bric A Brac (1926), ran for six months, but his big break happened when May Massee of Viking Press came to dinner. Admiring the scenes Bemelmans had painted on the blinds, Massee announced: "You must write children's books!" Hansi (1934), a reminiscence of his childhood, was quickly followed by three more: The Golden Basket (1936), The Castle Number 9 (1937), and Quito Express (1938). Bemelmans met and married Madeleine (Mimi) Freund in 1934. The two honeymooned in Belgium, which provided the setting for The Golden Basket, his Newbery-Honor winner. Not many realize that Madeline makes her debut in this book. Madeleine, spelled like his wife's name here, is one of 12 little girls shepherded by a tall nun through the streets of Bruges. In 1938, Bemelmans, Mimi, and their two-year-old Barbara traveled to France. On the recommendation of Georges, his underworld friend, Bemelmans visited the Ile d'Yeu off the coast of France. Here came more inspiration for Madeline when he was knocked off his bike by a truck. He had to walk to the hospital, where, in the next room, he wrote, "was a little girl who had had her appendix out, and on the ceiling over my bed was a crack that, in the varying light of morning, night and noon, and evening, looked like a rabbit." He went on: "I remembered the stories my mother had told me of life in the convent school at Altotting, and the little girl, the hospital, the room, the crank on the bed, the nurse, the doctor, all fell into place. I made the first sketches on a sidewalk table...

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

Broken Grid. The artist continues to explore art with varying techniques. Framed. Excellent condition Mixed Media 19" x 14.5" Image 16" x 12"

Antony Zega (1962-2019). Bed, ca. 1985. Photographic print, 12 5/8 x 8.5 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Elegant French style crystal and brass chandelier.

An original gelatin silver print by American social documentary photographer Milton Rogovin depicting a resident of Buffalo's East Side in the early 1960's. Mr. Rogovin chronicled t...

Modernist abstract oil painting. Oil on canvas, circa 1940. Unsigned. Image size, 37"L x 25"H.

Italian beaded chandelier.

Antony Zega (1962-2019). Cadiz, 1987. Photographic print, 10 x 10 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

A good and finely made studio pottery stoneware bottle vase of small size decorated with a repeat brush pattern of stylized insect like designs by Derek Clarkson...

Yuri Larin (1936-2014). Landscape, 1984. Watercolor on paper, 17 x 18 inches. Unframed and unmounted. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper sheet of Russian manufacture. Estate of Giovanni and Dagmar Migliuolo, NYC. Giovanni Migliuolo is the former Italian Ambassador to the United Nations, USSR and Egypt. Yuri Larin, also Yuriy Larin (1936–2014) is a Russian painter and graphic artist, a member of the Union of Artists of the USSR since 1977. Larin was born in Moscow to the family of a key Soviet political leader, Nikolay Bukharin, and Anna Larina. Following the arrests of his parents in 1938 and until 1946, he lived with his relatives, and following the arrest of his step-father, he was taken to an orphanage near Stalingrad. A hydraulic engineer by training, he worked at the construction of the Saratov Hydro-Electric Plant and at design institutions. In 1960, he began his studies at the department of drawing and painting of the Krupskaya People’s University of Arts, and then, from 1965 until 1970, he studied at the department of art design at the Moscow State Higher School of Arts and Industry (the former Stroganov Institution). His career as a professional artist began in the early 1970s. From 1970 until 1986, he taught at the Moscow 1905 Memorial Arts School. His letter to prof. Vittorio Strada sent in 1980 contained the first statement of his artistic method he would later dub the “concept of the limit state”. He quit teaching after a serious illness, when he lost the ability to use his right hand. He only worked with his left hand since 1986. He died and was buried in Moscow. Exhibitions: 1981 The sixth All-Union watercolor exhibition. Moscow 1982 Personal exhibition in Moscow Drama Theater after M.N.Ermolova (together with Ye.Kravchenko). Moscow. 1985 The eighth All-Union watercolor exhibition. Moscow 1987 The ninth All-Union watercolor exhibition. Moscow. 1989 Personal watercolor exhibition. Gallery “Books&Company Art”, NY, USA Personal exhibition. The Central House of the Artist on Krymskiy Val, Moscow. 13 Biennale of the countries of the Baltic Region in Rostock, Germany. 1992 Personal exhibition of Russian and German landscapes. Duren, Germany. The exhibition of the Russian graphics. Gallery «Raissa». Erfurt, Germany. 1993 Personal exhibition in exhibition hall of magazine “Nashe Nasledie” (Russian Cultural Foundation), Moscow 1994 Personal watercolor exhibition. Gallery “The Art of the XX century”. Bonn, Germany 1996 Personal exhibition of portraits and landscapes. World Bank Moscow Office 1997 Personal exhibition “From Italian cycle”. The State Institute of Art Studies. Moscow Exhibition “THe Russian Art of the second half of the XX century. Harmony of Contrasts”. The Academy of Arts of the Russian Federation. Moscow. 1998 Personal exhibition “The seasons of Yuriy Larin. From the Russian cycle”. Moscow State Museum of Vadim Sidur...

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

1970s chrome machine age style fixture.

Set of 8 Fornasetti 1950s double face coasters in original box.

From the Naiad Series Tim was born in Derbyshire, England & from an early age was attuned to the natural world. He came to art later in life and forges his sculptures using mainly ...

A stunning Austrian Art Nouveau pottery wall plaque with tubelined floral designs dating from the latter 19th century. The heavily potted ...

Scolari 1970s crystal/metal chandelier.

Edward Pechmann Renouf (1906-1999). Oil on masonite panel, measures 16 x 24 inches. Excellent condition. Signed lower right. Provenance: Allan Stone Projects, New York, NY. Biography: Birth place: Hsiku, China Addresses: East St. Washington, CT Profession: Painter, sculptor Studied: Phillips Andover Acad., 1924; Harvard Univ., 1928; Columbia Univ., 1936-46; drawing & painting with Carlos Merida...

1880s Mahogany shaving mirror.

1960s Murano glass bowl with a sunburst design in the middle.

Delicate work by this hugely talented and rising welsh artist. Small but gets the attention of the eye. Mixed media on board Framed 18" x 22" Image 16" x 20"

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

Welsh Abstract art Phillip Alder gives a poetic response to a ruined oratory chapel on an island in Lake Killarney, Ireland. Oil on canvas, wood frame Image 10" x 12"

A Pair of Occasional tables in the Louis XV Transitional taste Constructed in tulipwood with kingwood employed in the cross banding and inlay work alongside boxwood stringing, and...

This fabulous Hand-Knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

In classical mythology, Hebe, the personification of youth, is also cupbearer to the gods. She is the daughter of Juno and Jupiter (represented here by his eagle). Seated between his wings, she is holding the oinochoe (wine pitcher) in one arm while with her free hand she gracefully offers him divine nectar known as ambrosia, a drink which reinforced the Olympians' immortality. The three-piece clock garniture centred around the large silvered bronze figural group after the original by Albert-Ernest Carrier-Belleuse, supported on a gilt-bronze mounted onyx clock base, denoting the hours in Roman numerals, the central clock flanked by a pair of silvered and gilt bronze female figures in neoclassical garb, their amphoras issuing five scrolling candleholders...

This very thick and heavy grey and clear art glass vase is signed by an unknown artist, but presumed to originate from Scandinavia, likely Sweden, in approximately 1970 in the period...

Elliot Barowitz (b.1937). Little Blue Head, 1965. Oil on canvas, 1965, signed 'E.O. Barowitz', titled and dated on the stretcher. 16 x 16 in., 16 3/4 x 16 3/...

This fabulous hand-knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

G_XI, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, w...

The Hunting is a sculptural interpretation of Autumn, a lithograph from Erté’s The Four Seasons. It represents a beautiful creature – half woman, half animal – wounded by a cruel hun...

This fabulous hand knotted carpet has been created and designed for extra strength and durability. This rug has been handcrafted for weeks in the traditional method that is used to m...

A stylish mid-century Italian ceramic art pottery vase decorated with acanthus leaves by Fratelli Fanciullacci an dating from around 1960. The vase of cylindrical shape stands raised...

A tall large sized Art Deco silver trumpet shaped vase with a pinched top by Walker & Hall, Sheffield and with date marks for 1918. This elegantly shaped vase stands on a rounded foo...

The Water, 2023 collage on paper 46 H x 37.5 W cm Signed on the right side down This artwork has also a text wrote by the artist. "Beyond the smooth surface of the water, silence ...

Red ‘Padded Cassette’ shoulder bag from Bottega Veneta. Crafted from lamb leather with a mirror effect and the brand’s signature Intreccio weave, this model is complete with an adjus...

The Cartographer, 2021 collage on paper 50 H x 35 W cm Raluca Arnăutu dreams the world through collages. A collage, dreamlike and surreal, populated by thousands of pieces of paper,...

Paper Mill, 2022 collage on paper 50 H x 35 W cm Raluca Arnăutu dreams the world through collages. A collage, dreamlike and surreal, populated by thousands of pieces of paper, textiles, pieces of plastic, found or made objects, which intertwine on the paper support and as in a well-controlled and thought puzzle give birth to a new universe. The new series of collages...

Frank Godwin (1889-1959). Allegory of Defense Industry, 1919. Oil on canvas. Signed lower right. Image measures 20.75 x 26.25 inches. The canvas measures 24 x 36 inches in total. Ann...

Wonderful angel figure with candle holder. Beautiful traces of the original paint and gilding visible, Italy, circa 1650-1700. Weathered and old repair More pictures available on re...

A very unusual novelty Austrian bronze sculpture of a monkey trying to feed their young with a large spoon dating from around 1900. The figure is well modeled and portrays a large se...

Interesting hand thrown Japanese studio pottery creamware vase with a craquelure glaze by Takeshi Yasuda (Japanese, b.1943) dating from the 1980’s. The ...

A very fine Aesthetic Movement porcelain cabinet plate decorated in the Japanesque style attributed to Christopher Dresser and dated 1877. The plate, possibly Minton, is finely made ...

Beautiful baroque baby Jesus with glass eyes and a very strong expression. Wonderful and rare original period piece. Spain, circa 1650-1750. Weathered, losses and old repairs. Measur...

A good Nailsea Victorian glass rolling pin with colored glass inclusions dating from the 19th century. The heavily made and hollow blown glass rollin...

Beautiful ca. 1935 painting by American artist, Frank Stanley Herring (1894-1966). Watercolor on heavy rag handmade paper measures 14.5 x 19 inches, 23 x 28 inches in original vintag...