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Elegant 20th century floral chandelier in silk-and-amber-colored Murano glass, with gold finishes, Italy. This refined chandelier, handcrafted in the Italian island of Murano, stand...

Yellow Ball, East Hampton, NY, Archival Pigment Print, $550, Ed. 1/5, 2016 Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been fea...

Twisted Band Ring Silver England, 15th-16th century Weight 2.9 gr.; circumference 51.9 mm.; US size 6, UK size M The wide silver hoop is slightly rounded inside with an original solder point and twisted and beaded on the outer side. Between one of the grooves on the outer side are two out-of-place beads where a punch was apparently hammered in the wrong position. The ring is in good wearable condition. This beautiful, wearable ring consists of a spiral-grooved hoop. The twisting, fluted band is typical of medieval iconographic rings...

Rare Vintage Serapi rug Senneh Runner Tribal Geometric Pink 4'5" x 13'4" 135cm x 406cm "This is a rare vintage Geometric tribal runner with in...

An outstanding and most decorative true pair of Italian turn-of-the-century gilt metal, ormolu, glass, and crystal sconces. Each six arm sconce is centered by a lovely charming cryst...

Rare important Somno from the Empire period entirely in Mahogany veneer from Cuba and featuring a gray marble It is unusual to find a somno of this size since it is larger than the ...

The enduring beauty of Swedish styling is timeless in this lovely gustavian settee. Note the delightful carved details include swags and tapered feet of the base. We have layed new l...

A striking French 19th century Louis XVI st. giltwood mirror. The mirror retains its original mirror plate framed within a fine mottled beaded border. A beautiful Les Oves design ext...

19th century European hand painted domed trinket box, folk art style.

A stunning and very high quality Italian turn of the century white Carrara marble statue signed Prof. R. Romanelli 1909. The statue is raised by a circular base with a fine ground like design where the beautiful maiden is kneeling. She is draped in a wonderfully executed flowing garment falling off her shoulders using one hand to cover herself while holding charming finely detailed flowers in the other. She is wearing a lovely necklace and has her hair tied in a richly sculpted head wrap with fine coin earrings and a coin headpiece. Wonderful attention to detail throughout. Raffaello Romanelli (1856 - 1928) Born in Florence, Italy. Romanelli was renowned for his monuments and portrait busts of noteworthy figures. He won numerous awards and had the honor to be commissioned by Pope Augustus III for two works at the façade of the Florence Cathedral.

Marble top two drawer French Commode 19th Century in Kingwood and satinwood with inlaid panels of flowers in fruitwood. Two drawer, curved bombe front with four legs with gilt bronze...

Inlaid tilt top circular pedestal table circa. 1780. With a variety of fruitwoods inlaid in a spiraling pattern to the top. An unusual design o...

A beautiful Scagliola table top circular table inlaid with various exotic agates and marbles detailed in a roman style design. The 17th century top...

Chinese pottery cocoon jar incised with bands design. The cocoon jar is sometimes called a "duck-egg jar", used as a wine vessel during Han Dynasty. Ag...

- Iron base in good original condition with some signs of use. - Rattan in very good condition. - Made in Germany. - With sheepskin included. - Height of seat 39 cm.

Comprising a lounge chair, three-seater sofa, ottoman and floor lamp – all crafted from rattan – the Bohemian 72 Collection embodies Crespi’s ca...

The vintage dresser was designed and produced by fine Italian manufacturer in the 70s. The small dresser is made in rattan with a geometrical patte...

Stunning midcetury lucite and Vienna straw picture frame enriched with a silver frame. This astonishing item was made in Italy during the 1970s following the style of Christian Dior....

The 9602 floor lamp, also known as “Chinese Hat” was designed by Paavo Tynell in 1938 for the hotel Aulanko. Characterised by its elegant and airy lamp...

Amazing mid-century bamboo, rattan and wicker cabinet with two drawers. This wonderful piece was designed in Italy during the 1970s. A fantastic item that will be a perfect additi...

Bamboo and Rattan arched wall mirror. Made in Italy in the Italy 1970s.

The Benedict™ Three Light Lantern arranges three 6 inch Benedict™ light assemblies in a condensed bloom perfect for entry ways, stair wells, and other transitional spaces. Shown here in Trella's™ hand applied Antique Brass patina...

This timeless, classic natural and untreated nephrite jade necklace is 18" in length including the 14K yellow gold clasp (marked 585). It features 35 rou...

18th century Italian gold leaf angel wing mounted on tourmaline in crystal quartz. The large, gold leaf and painted angel wing originally came from a church in Tuscany. It was onc...

A pair of 17th century Italian fragment vases decorated with fossil agate coral on cut rock coral bases. The pair is from a church in Florence. They were found and saved from the hi...

The concrete coffee table top inlaid with hardstone and brass cog wheels and other elements. On L-shaped sheet metal supports.

This dark green (almost black) nephrite jade pendant is inscribed with a brief poem about spring. The text — 泛好 红时春 万辰 风 象翠沐 新绿 雨 — which would appear to be an ode to the cleansing, ...

This 14K yellow gold and jadeite jade brooch dates to around 1950 and features a 44.70 x 13.27 x 4.37 oval pierced jade carving in a floral motif. The col...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Handsome pine farmhouse dining table or harvest table made in the country English style. The top is crafted from 1 inch thick reclaimed barn wood with a beautifully aged patina and n...

Amazing round pedestal center table or dining table featuring a neoclassical Venetian or grotto style triple dolphin motif base. Crafted fr...

Gorgeous late 17th century/early 18th century walnut veneered William and Mary style commode or chest of drawers. The case features beautifully veneered drawers and top showcasing th...

Chapeau Coquet is an Original Etching Hand Watercolored series "Costumes Parisiens" published in 1797 by the Journald des Dames et des Modes". Cost...

The Roman Gods In An Allegory Of Love, 18th Century Italian School Large 18th Century Italian School "Allegory of Love" in a panorama of Roman Gods, o...

Original antique advertising poster for the Ligne Allan Service Postal Franco Canadien Havre Canada. Great design depicting an ocean liner a...

English Portrait of a Jack Russell Terrier dog in a landscape, 'Flusie' William Albert Clark was an English animal portrait painter. He was the son of the famous Victorian animal painter, Albert Clark. He lived and worked in London, where he painted horses, cattle and very rarely dog portraits. Just like the other members of his family who were painters William's paintings were in great demand, like they are now. This piece is a very very rare dog...

19th century stool with thick 11 inch oval seat, widely splayed legs, in original green paint.

Sterling Silver Horse & Jockey Walking Cane Stick. Marked FP 925 0n side. Stick looks like rosewood but could be mahogany. Brass tip. Some minor wear from use.

Mahogany Sewing Table with Brass Details from the Late 19th Century We present you a neat sewing table. This piece of furniture is placed on bent cabriole legs with brass appliqués....

A rare hand mirror "Miroir face à main" crafted by French art jewelry designer Line Vautrin (1913-1997) circa 1950s-1960s. The elongated oval form was covered in Talosel Noire with a...

'Si tous les gars du monde...', box by Line Vautrin 1940 Silvered bronze and corkwood 8x3 cm Signed.

Early 19th century Regency tripod wine table. The rectangular satinwood and mahogany crossbanded top sits above a turned stem that splays out into three downswept tapering legs, term...

The unique design of this coffee table marries industrial and baroque aesthetics for a stimulating fusion. Made in Central Europe at the turn of the century, cabriole legs create a l...

Paper Size: 33 x 23.5 inches ( 83.82 x 59.69 cm )?Image Size: 33 x 23.5 inches ( 83.82 x 59.69 cm )?Framed: No?Condition: B: Very Good Condition, with signs of handling or age??Additional Details: Original exhibition poster for the show "Women's Vision Vol. 1" featuring Cindy Sherman...

"Composition pour le Centenaire de l'Imprimerie Mourlot" is the original exhibition poster created by Henri Matisse for the centenary of the Mourlot printing company which took place...

Paper Size: 39.5 x 27.5 inches ( 100.33 x 69.85 cm )?Image Size: 18.5 x 24.5 inches ( 46.99 x 62.23 cm )?Framed: No?Condition: A-: Near Mint, very light signs of handling??Additional...

This amazing Victorian bracelet/ Victorian bangle estate bracelet is finely crafted in solid 14K Yellow Gold and Sterling Silver for the top. The bracelet holds 74 Old mine cut genu...

Chaim Gross (American, 1904-1991) Watercolor with pencil painting Rabbi Klezmer music concert, flute player. Hand signed framed: 15 X 28.5, paper: 9.5 X 23 Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, Israeli President, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. He also did some important Hebrew medals. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work.In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (02158) 23...

This very unusual and one of a kind bangle bracelet is crated in solid 14K Yellow gold. It is also hallmarked with Jean ©. Sixteen round brilliant...

"Expressionist Abstract Figure" is a 40 x 30 inches oil on canvas work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" in the lower left and it is estate stamped on verso. Morris Blackman...

Penny Preville 18 Karat Yellow Gold Twist Natural Diamond Eternity Band Ring Metal: 18 Karat Yellow Gold Weight: 4.26 grams Diamonds: Approx. .50 CTW G-H VS round natural diamonds S...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later by Cole Weston from the original negative now housed and retired at the Center for Creative Photography in Tuscon, Arizona. From the Estate of Cole Weston through inheritance with the Weston Gallery...

GEORGE BISSILL (1896-1973) Two Soldiers Signed l.r.: Bissill Watercolour and pen and ink on buff paper Framed 38.5 by 28 cm., 15 ¼ by 11 in. (frame s...

Estate round multi gemstone link bracelet. This 14 karat gold link bracelet features round gemstones including garnet, amethyst, peridot, citrine, and blue topaz. The bracelet also h...

Vintage 9.50 Carat Diamonds XOXO Bracelet 14k Gold. The diamonds in this bracelet are round and baguette cut brilliant diamonds with a total weight of 9.50 carat diamonds weight. The...

This vintage ring for a gentleman is finely crafted in solid 14K Yellow Gold. Four white and fiery round brilliant cut diamonds are very clean VS1 clarity and G color totaling .28 c...

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (00089-MA.K...

Vintage Men’s 5.75mm Fancy Curbed Link Bracelet 14k Gold. The bracelet is 7.5 inches long and weights 13 grams solid 14k gold. Very unique and unusual rare ...

Jamaica Sea Sailing, 1953 Fiber print Estate edition of 150 Signature stamped and hand numbered with Certificate of authenticity 1953: Two men sailing their yacht 'Eel II' in Jamaic...