Nautical 2

This artwork is hand signed and editioned by the artist and comes directly from the artist's studio. Girls in the Windows, 1960 has been widely p...

This is the very last and only print available in this size and edition. All others have sold. It is in inventory at the gallery. Photograph is hand-signed and editioned by the artist and comes directly from the artist's studio. It is available in additional sizes. It is also available framed. Contact us for more information. Girls in the Windows...

A Set of Four North Italian Neoclassic Cream Painted & Parcel Gilt Armchairs Late 18th Century Upholstered in cream leather Height 39 in. Width 24 in. Depth 19 in. Provenanc...

Turbulence III 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Turbulence VIII 42" x 100" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 105.5" x 44.5": $18,000

Shatter Stainless 14.5" x 8.5" x 8.5" High Chromium Stainless Steel Unique $60,000

Jello (White) 16" x 17" x 17" Aluminum, Automotive Paint Unique $50,000

Dorothy Bauer was known for her sculptural, whimsical jewelry designs incorporating Swarovski crystals, as exemplified by this brooch. She was active...

Turbulence IV 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Navy convertible clutch, the exterior enhanced front and back with a set-in white rectangular border echoing the shape of the bag. The bag features...

La Jeunesse handbags are unique, luxurious, and sought after. This example is composed of gold snakeskin that is covered by a fine white mesh, toni...

Large and dramatic earrings by Vogue Jewelry of triangular shape and composed of large round and marquise crystals in a gold tone setting, each stone...

1960s medium-weight silk shift dress in a beautiful shade of pink. The construction features a yoke at top that extends over the shoulders to form cap sleeves. The simple straight sh...

c. 1970 mink jacket in a soft golden shade features a spread collar and comes with a brown leather sash belt. One fur hook and an interior tie keep allow ...

Black faux astrakhan coat that features a detachable cape. The fitted, princess-style body is single breasted and fastens with 8 black stone and silver...

Perfect clutch in cherry red lizard by Suarez, known for their exotic skin handbags, features an interesting metal and black bead chain that converts it int...

In the late 1940s, Trifari's French-born artistic director Alfred Philippe, who had earlier created fine jewelry for Cartier and Van Cleef & Arpels, designed this flora-motif crystal...

Signed "Trifari" with a crown and without a post-1955 U.S.-copyright symbol on all three matching pieces, this likely late-1930s highly-textured yellow-gold-plated demi-parure was designed by American Trifari's French-born head designer Alfred Philippe after he had honed his fine-jewelry craftsmanship while creating luxury parures for Cartier and Van Cleef & Arpels. The set features a heavy tasseled eight-strand chain sautoir necklace and earrings with dropped fluted-ball pendants, With French-style signed clip fastening, the contrasting-texture two-inch-long earrings each have two twisted fluted round beads in different sizes, with the larger one capped at both ends with additional shapes and textures. On the necklace, this textural contrast is amplified with the inclusion of many chains. The decorative chain caps and...

Signed dated ad titled “The Irresistible Landscape”. This painting was personal to the artist as Brook was born on July 14, 1898 ad at the age of twelve was bed-ridden with Polio. This painting is a self-portrait showing the artist looking out the windows of the room he rarely was able to leave. This painting was exhibited at the Pennsylvania Academy of Fie Arts ad the Ogunquit Museum Of America Art, exhibition tags from both institutions are attached to the stretcher en verso. Born in Brooklyn, New York, Alexander Brook was a realist painter, whose works consisted mostly of still-life subjects, landscapes, and figures, often of women. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930. In New York, he studied at the Art Students League between the years of 1914-1918. It was at the Art Students League that Brook developed significant relationships with Niles Spencer, Reginald Marsh, Kenneth Hays Miller, Yasuo Kuniyoshi and, perhaps most significantly, Peggy Bacon, whom he married in 1920. Along with Kenneth Hayes Miller, Brook studied with John C. Johansen, Frank V. DuMond, George Bridgeman and Dimitri Romanofski. Within this group lay the foundations of American Realism. Brook was a member of the Society of Independent Artists, who rebelled against the strictures of the National Academy of Design. In 1938 Brook traveled to Savannah, Georgia, there he did some of his most provocative work. After two years in the South, Bacon and Brook were divorced. Brook later married the painter Gina Knee. During the years 1928 through 1939, Alexander Brook had works in over one-hundred exhibitions, fifteen of which were one man shows. By 1942, Brook had resumed teaching at the Art Students League. Demand for the artist's work kept him in significant collections, galleries, and museums, including the Downtown Gallery (New York), the National Academy of Design, the Rehn Gallery, the Larcada and the Knoedler galleries. Some feel Brook may have retreated from the art world with the rise of Abstract Expressionism, although a sketchbook that he kept from 1949 to 1951 reveals an active engagement in painting and served multi purposes--a repository for his ideas, an address book, notebook, and travel diary. Of special interest are his notes on watercolor technique. It also includes tips for using new painting tools...

Louis Stettner, Subway New York, 1946, printed circa 1990. This image is illustrated the book " Traveling Light". It was published to celebrate a major...

This is a great African Gemsbok taxidermy shoulder mount. It is posed with the head in a semi-upright position looking to the animal's right side. This a elegant example of a mount o...

Very handsome pair of exceptional bamboo and pebble stone mirrors. Circa 1940's, just full of character and texture. Perfect for a master bathroom Suite or a pair of console...

Watercolor on paper, young boy in a dress by Patrick Wybrant, circa 1850s. Purportedly a child of a prominent Boston Family. Provenance: Property from the Collection of Maggie Cohen, New York City Overall: 8-1/2"h x 7-1/2"w Sight: 5-1/2"h x 4-1/2"w This item can be viewed in person at The Berkshire Galleries in Great Barrington Massachusetts. Patrick Wybrant was born in Rathdrum, County Wicklow in 1816. He painted in Great Britain from 1849 to 1852, spent approximately three years in the United States. During that time he painted watercolor portraits for prominent Massachusetts families. Wyrat returned to work in Yorkshire around 1855-1856. He may have continued to work until his death, in Knaresborough, West Riding...

Among the most in-demand designs by Trifari artistic director Alfred Philippe were his flora and "jelly belly" fauna jewelry from the 1940s. Both iconic styles can be mixed as the go...

These mid-century platinum-like silver tassel chain drop earrings were designed by Trifari artistic director Alfred Philippe in an Art Deco style that recalls his earlier work for Ca...

For Trifari by mid-century, its artistic director French-born Alfred Philippe designed this yellow-gold set including the seven-bar linked collar with central invisibly-set diamante,...

Indicating that French-born Alfred Philippe designed this bicolor glass-beaded necklace between 1936 and 1955, the crown-topped Trifari signature appears without a U.S.-copyright sym...

Caroline Kaars Sypesteyn of Berkshire Artisanal is the artist who has created this black-and-white photographic print on linen of a pair of red beets. Titled "Red Beets #4." The phot...

Caroline Kaars Sypesteyn of Berkshire Artisanal is the artist who has created this black-and-white photographic print on linen of onion heads. Titled "Onion Heads #5." The photograph...

Jean Salabet French, 20th century L'Opera Oil on canvas 18 by 22 in. with frame 25 by 29 in. Signed lower left Provenance: Private Collection New York Le Trianon...

While at Balenciaga in late 2007, Nicolas Ghesquiere designed this 100%-silk bias-cut paneled dress that explodes with a grey and pale-yellow flower print and features unique technic...

An interesting combo from Jean Paul Gaultier consisting of a jacket composed of his signature mesh fabric embellished throughout with a black-and white sequined leaf design over a sh...

A Parisian haute-couture runway accessory designer for French Jean-Paul Gautier handmade this decadent street-culture-inspired wire-hook earring with multiple tumbled semi-precious stones, gilt chain and cord, and multi-color sequins that suggest divergent international cultures. On both the front and back, an explosion of deconstructed couture-textile remnants...

Pair Wall Sconces by Deborah Thomas of The Northern Fleet Series Constructed using numerous pieces of broken glass jars, each individually wired to an a...

Set of four 18th century Italian painted & parcel-gilt chairs, Venetian. These beautiful chairs have carved wooden frames with sweet detailing. The surface is painted green with gold...

During the ArtDeco period when Gabriel "Coco" Chanel was at her peak as a Parisian couture fashion-designer in the early 1930s, this antique one-of-a-kind handcrafted gem-fringed and gilt-chain medallion brooch with trombone clasp was commissioned to accessorize one of her clothing designs. Marked only "FRANCE" like some early 1930s Chanel couture jewelry (without a brand stamp until the 1950s), its artistic origin is most likely from ornate organic-form sketches by her favorite parurer Fulco di Verdura. The Sicilian duke began creating fabric patterns for Chanel in 1927, which shortly expanded to fine jewelry beginning with custom pieces for herself. These include the iconic Byzantine-influenced gem-adorned cuffs referencing the Maltese military-cross, which the French designer can often be seen wearing in circa-1930s photos. This bright yellow-gold brooch suits goldsmith Verdura's early anti-Art-Deco aesthetic that was considered a radical departure from 1920s silver-tone jewelry, which otherwise featured linear geometric designs or figurative representation. The softly-shaped deconstructed gem-bouquet mixes amethyst and rose-quartz beads with natural Keshi pearls and intricate tiny gilt leaves, which are wired to a Baroque-motif open-work frame that dangles another gem surrounded by a thick gilt-rope halo. Notably, Verdura is credited with re-introducing since Victorian times the rope motif to jewelry. Since 1930, Verdura's unique style was influenced by travels with Chanel to explore Byzantine art, Baroque architecture, and exotic flora-and-fauna among his native Italian aristocratic estate. The legendary fashion-editor Diane Vreeland and American entertainment-stars were among the first Chanel clients to acquire couture real-gem-adorned jewelry made by Verdura, while one of the two brooches treasured by Vreeland was titled "Theodora". See our photo of the Byzantine mosaic of Empress Theodora, whose image wearing many teardrop pearls above her chest and surrounded by a golden halo seems to be the inspiration for this brooch. As one of the most important modern-design collaborations, Chanel's close relationship with Verdura lasted largely-undocumented years in Paris, until he launched his first outside jewelry venture with a Hollywood designer-boutique after emigrating to the United States in 1934. By 1939 as a financially-backed in-demand goldsmith, he founded the namesake jewelry-company Verdura in NYC. After he retired in 1973, the brand continued to operate without him with different owners. Given the duo's designs that played with historic and military references, Chanel's couture commission for this purple medallion may have been sparked in the early 1930s when the internationally-new...

Antique cast stone and shell form birdbath. Great antique condition, nice wear and aged patina will add interest to any outdoor space.

With Belgian former couture-fashion designer Martin Margiela's original blank-white textural-cotton corner-sewn label from the early 1990s visible above the prominent circular knit h...

Entertain in style with this 78 piece of elegant cobalt blue and white porcelain china made in England or France possibly in the 1840s or 1850s w...

The antique rustic country bench is handcrafted with solid curved framing and a comfortable slanted back. The back has been given extra strength with "shelving" secured by brackets. ...

This somewhat cylindrical petrified wood lamp is topped by a charcoal gray linen shade with a white plastic liner and European mounting. Single socket electrified for US use. Petri...

Black suede, fingerless, over-the-elbow gloves are crafted of black suede and trimmed with black lace at all edges. Dramatic and unique. Trude Schoeman wa...

Before 1947 when the brand mark was added and while couture-style adjustable-hook necklaces were in demand in post-war America, Miriam Haskell's first designer Frank Hess created thi...

As conceptual art while he transitioned to Hermes Creative Director in 1998, Belgian Martin Margiela--whose creations today debut in the setting of a contemporary-art gallery priced at upwards of EU$150,000--created this stenciled or block print. Conceived by arguably the most culturally influential contemporary fashion designer since Gabriel "Coco" Chanel, it is part of a limited-edition-of-two white-boxed set that includes the couture Maison Martin Margiela "Artisanal Line 0" body-harness lingerie in its maker's signature color white for Spring 1998. The same lingerie--one white and the other black--starred in a film made by Margiela among the five that he screened to present his Spring/Summer 1998 "Flat Collection" in Paris at the Conciergerie. In that film titled "4", which begins with a view of the iconic topless tabi "boots", the hands of Margiela's white-labcoat-clad assistants enter the frame to manipulate different garments on a model who initially wears the exterior lingerie (see our photos) as if jewelry. A simple dark collared coat, a white collared button-down shirt, and a dark button-down cardigan--all with the "displaced neckline" or "displaced shoulder" of the flat-hanging clothes--are transformed into new collarless plunging v-neck garments, which appear to be ruched when folded under the harness of the lingerie. Both black versions of the lingerie are in museum collections. In Martin Margiela's home-country, the ModeMuseum (MoMu) archived its collected piece as OBJ7660. In the 2018 Parisian retrospective exhibition at Musee de la Mode/Palais Galleria when its artistic director was Martin Margiela (working with Curator Alexandre Samson), the second black lingerie was featured on a mannequin and collected the same year by the Vogue Paris Foundation. Other conceptual designs from this same 1998 collection of jewelry were acquired by TheMet museum in Manhattan. Without the restriction of the use and function of clothing, the small uncreased print--on a card that can be removed from the interior-box bottom that it loosely spans--shows the buyer how to endlessly fashion unique tops using the structural-elastic lingerie as an undergarment for their own pre-worn button-down shirts. This is a more obvious example of the once avant-garde concept of anti-fashion upcycling that Martin Margiela introduced to challenge social and fashion-industry norms by the 1990s, which echos the revolutionary anti-art of Marcel Duchamp. Essentially, valuable art/fashion can be made from everyday vintage objects. While Duchamp did so in 1917 with a men's porcelain urinal titled "Fountain" attached to a gallery exhibition wall, they both made the point that it is the way that such items are reassembled that can make the result a progressive statement. What makes the print so special and worthy of framing for display is that, without words, the three numbered images on a single white card encapsulate the before-its-time fashion manifesto of Martin Margiela to recycle fashion in remarkable new wearable ways, such as harnessed by his unique lingerie. According to The New York Times in its 2021 feature-story that reflected on his radical fashion design and delved into his crossover art, Margiela "changed how we dressed in the 1990s", while his art embodies "the visionary man he has always been." At a turning-point shortly after Margiela designed this couture set in 1997, his personal manifesto became more difficult to accomplish in his fashion career as the new leader of France's historic luxury fashion-house Hermes, for which his first womenswear collection was presented for Autumn/Winter 1998. Frustrated by the limitations of the industrialized luxury trade and conglomerate conflicts with his closely guarded privacy, the famously "invisible" designer pre-maturely retired from the fashion industry in 2009 to independently build on his clever artistry in other mediums. Margiela continues to demonstrate what he often told his fashion teams: "The less you have, the more creative you are as a designer." This minimal finely-crafted lingerie without size or gender restriction--composed of adjustable "polya-elasthanne" straps with a clear anti-slip strip on the underside and three silver-plated metal double-rings--can be worn either as a concealed structural undergarment or as a visible jewelry-like body harness in appreciation of its meaning as a foundation for recycling fashion, pure form, and meaningful color. While the initial Maison Martin Margiela ready-to-wear brand tag until the late 1990s was a distinct corner-sewn unbranded white label accompanied by tags for origin and materials/care, the couture version for this lingerie is a single tiny white unbranded tag stitched in a line near the end of the waist strap, noting in English, "Made In France," with succinct material/care identification. The set's original white unbranded box and its white black-typed couture-identification sticker complete the "invisible-brand" aesthetic. We interpret the black-type codes on the aged box-sticker (“E98 ST HAUT; Struct Elas Blanc; 02; TU"): Spring 1998 Haute Couture; white structural-elastic garment; Artisanal Line 0 edition of two; one size only. The print, lingerie and box are in very good condition as shown in the photos with only one mark on the rear edge of the exterior box-lid. Although initially tried on by the sole owner to realize a restructured shirt, the lingerie body-harness was never worn. It was collected in Belgium at the Brussels boutique where Martin Margiela initially sold his brand with his founding business-partner Jenny Meirens since 1988. Prior, Margiela worked for several years as a fashion-design assistant to Parisian Jean Paul Gaultier. Both designers have since received independent museum retrospectives internationally--from Paris' Grand Palais and Musee Palais Galliera (The City of Paris Fashion Museum) to NYC's The Brooklyn Museum and Antwerp's MoMu. While others continue to try, Martin Margiela (b.1957) is the only leading fashion designer to have made a full-time transition to the commercial contemporary-art world with such highly valued works. As a rare revealing piece of both fashion and art history, the increasing value of this Maison Martin Margiela 1997...

From one of the last fashion collections by legendary Belgian artist Martin Margiela, this asymmetrical plunging V-neck black jersey pullover that he designed for Spring/Summer 2008 ...

Make a statement with these wonderfully designed and great looking pair of teak wood folding porch, garden lounge or deck chairs with grey weathered patina. Great for indoor or outdo...

Striking and beautiful New England quilt with oakleaf pattern. Investor investive condition with a highly modernist design pattern. Found in Maine, this quilt made from pumpkin orang...

With a cross-over ring interior and textured exterior like raw silk that matches Christian Dior rings marked "Chr. Dior Germany" from the late-1950s and 1960s, this bold modernist ye...

Found in Greece, this ancient style gold-smithed sculptural open-work ring features at its raised end a bezel-set lapis cabochon, while the other end of the by-pass band below is sha...

On this antique early Art Deco-period solitaire cocktail ring, a long rectangular mirror-cut black onyx is surrounded by 28 faceted marcasite stones. The American silver ring, whose ...

First appearing like an intense green-blue black opal without the flash, this antique natural azurmalachite oval-cut 10mm cabochon in a bezel setting features curvaceous vivid-green ...

This vintage Navajo modern minimal statement solitaire ring that was handmade by an unknown Native American features a sterling-bezel set black onyx cabochon on one end of a linear-textured yellow gold-filled asymmetrical narrow top, which spans nearly three fingers over a soldered silver double band. One band is US-size 8, the larger one is 8.5. On the underside of the flat top, the zigzag mark of a lightning/bolt or snake/serpent may be an individual artist or that of a Native American trading post, which acquired such jewelry when members of the community pawned pieces when in need of goods or credit. Old Pawn jewelry...

Jeff Robb Portal 10 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please ...

Jeff Robb Portal 6 Lenticular Photograph 31" x 31" Editions 6-12 of 12 $10,000 Provenance: From the artist's studio Additional Information: Available in additional sizes, please i...

Ormond Gigli Girls in the Windows, 1960 Gelatin Silver Print Printed by Artist 24" x 24" Unique Edition AP 3/5 Framed: $20,350 Provenance: Printed...

Ormond Gigli Old Woman, Portugal, Nazare (1952) Vintage Gelatin Silver Print Printed by Artist 27.25 x 23.25 Unique: $4900 Signature: Signed en verso Prove...

From "The Good Dishes" Collection Noritake Yoshino with Kiwi, 2020 30" x 20" Photograph Archival Pigment Print Edition of 5 + 2 APs: $2400 Signed en verso/Signed Certificate of Auth...

Georges Georoy Belgium, 1906–1983 Still Life aux Legumes et Poisson Oil on canvas 23 ¾ in. by 28 ¾ in. W/frame 31 ¾ in. by 36 ¾ in. Signed lower right In a period Heydenryk frame ...

From "The Good Dishes" Collection Kate Spade Birch Way with Dragonfruit, 2019 30" x 20" Photograph Archival Pigment Print Edition of 5 + 2 APs Signed in Verso Artist's Bio: US, Bor...

From "The Good Dishes" Collection Aram Butterfly Ginkgo with Melon, 2019 Archival Pigment Print Signed en verso/Signed Certificate of Authenticity Artist's Bio: US, Born in New Jersey, 1962 Lives in New York City. NY JP Terlizzi (American, b.1962) is a New York City photographer whose contemporary practice explores themes of memory, relationship, and identity. His images are rooted in the personal and heavily influenced around the notion of home, legacy, and family. He is curious how the past relates and intersects with the present and how the present enlivens the past, shaping one’s identity. Born and raised in the farmlands of Central New Jersey, JP earned a BFA in Communication Design at Kutztown University of PA with a background in graphic design and advertising. He has studied photography at both the International Center of Photography in New York and Maine Media College in Rockport, ME. His work has been exhibited widely in galleries including shows at The Center for Fine Art Photography, Vicki Myhren Gallery at the University of Denver, The Griffin Museum, Tilt Gallery, Panopticon Gallery, Candela Gallery, Sohn Fine Art, The Los Angeles Center of Photography, University Gallery at Cal Poly, and The Berlin Foto...