Berkshires

This all original 3 piece dresser set features 2 Round Boxes measuring 4.75" x 3.5" and a matching Tray 10.25" x 6" x .75" . One is perfect for cotton balls, jewelry, whatever you ...

This is an extensive and exquisite 19th century dessert service made by Rihouet, Paris, circa 1820s. Each piece is superbly hand painted w...

George Wharton Edwards American, 1869-1950 Roma Oil on canvas 30 by 30 in, w/ frame 36 by 36 in Signed lower left Provenance: Grand Central Art Galleries, NY Private Collection, Ne...

Gaston Sebire French, 1920-2001 At The Seaside Oil on canvas 25 ¾ by 32 in, w/ frame 34 by 40 ¼ in Signed lower right Gaston Sebire was born August 18, 1920, in Saint-Samson Calvad...

This set of 12 hand blown Bohemian crystal tumblers are works of art! The base is facet cut, solid crystal with hand painted gold. The oval shaped cup is highlighted with an oval med...

Hoi Lebadang French-Vietnamese, 1922-2015 Abstract in Earth Tones Oil on canvas 18 by 36 in, w/ frame 24 by 41 ⅞ in Signed and dated 56 lower right Lebadang (Hoi) was born in Quang...

Not the typical colorway of Spode's wonderful "Tumbledown Dick" pattern, this is painted on a white ground, givng it great versatility and bold contras...

This pair of rare 19th c Spode Chestnut bowls are in amazing original condition and feature a green enamel leaf motif with pierced border. Each has two handles and basketweave on bot...

George Roux French, 1853-1929 Still Life with a Plate of Cheese Oil on canvas 18 by 21 ½ in, w/ frame 24 by 27 ½ in Signed "Roux" lower left George Roux ...

Remarks: In original conditioned never electrified

Michel Henry French, 1928- Still Life with Dahlias Oil on canvas 28 ¾ by 39 ½ in, w/ frame 38 ½ by 49 in Signed lower right Michel-Henry is acknowledged as an important painter in ...

Michel De Gallard French, 1921-2007 Fleurs Aux Pot Noir Oil on canvas 18 by 25 ¾ in, w/ frame 26 ⅜ by 34 in Signed lower left Inventory Number: 01913 Michel De Gallard was born on...

Mary Brewster Hazelton American, 1868-1953 Hillside in Autumn Oil on canvas 20 by 24 in, w/ frame 29 ½ by 33 ¼ in Signed and dated 1908 lower left Mary Brewster Hazelton was a dist...

Gaston Sebire French, 1920-2001 A Storm Over the Field Oil on canvas 9 ¾ by 14 ¼ in, w/ frame 18 by 22 ¼ in Signed lower right Gaston Sebire was born August 18, 1920, in Saint-Sams...

Turquoise is in! This set of 12 hand painted and artist signed dessert plates are presented with a piecrust border, trimmed in gold and highlighted with a band of turquoise enamel. T...

The six Art Deco chairs that once stood in a Parisian park or bistro garden chairs can now grace your porch or terrace -- they have been newly painted silver. The seats are made of ...

Harry A. Neyland American, 1877-1958 The Red Oak Oil on board 18 by 24 in, w/ frame 22 ¼ by 28 ¼ in Signed lower left Harry A. Neyland — painter, sculptor, illustrator, and copyist...

Cesar Villacres Ecuador, 1880–1941 Market Day Oil on Canvas 16 by 20 in. w/ frame 22 by 25 ⅝ in. Signed lower right This painting depicts a busy Parisian market. Cesar Villacres wa...

Merio Ameglio Italian, 1897-1970 Place de la Concorde Oil on Canvas 18 by 22 in, w/ frame 25 ¾ by 29 ¾ in Signed lower right Merio noted impressionist painter primarily known for h...

A Fine Louis XV Ormolu mounted Tulipwood, Kingwood & Parquetry Collectors Cabinet Mid 18th Century Attributed to Jean-François Oeben The shaped marble top over a shaped cabinet with tulipwood, kingwood & parquetry throughout, with tambour shutters revealing a re-fitted interior with 6 graduating drawers, all over four cariole legs ending in gilt bronze sabots. Height 41 in. Width 38 in. Depth 20 in. Jean-François Oeben, ébéniste du roi in 1754 and maître in circa 1761. Jean-François Oeben was a sub-tenant of charles-joseph boulle (1688–1751) in the galleries of the louvre from 1751, and in 1754 was granted lodgings at the gobelins and then at the arsenal in 1756. he was appointed ebéniste du roi in 1754 and was therefore able to work outside guild restrictions. he was a protégé of the marquise de pompadour, the marquis de marigny and the duc de choiseul. his identifiable works span less than ten years. his earliest pieces are in the louis xv style (e.g. small table, 1756–8; munich, residenzmus.), and he seems even to have completed some pieces started by jean-pierre latz (e.g. pair of corner cupboards...

Achille-Emile Othon Friesz French, 1879-1949 Vieux Bassin de Honfleur Oil on canvas 23 ½ by 28 ¾ in, w/ frame 31 ⅜ by 36 ½ in Signed lower right Achille-Emile Othon Friesz, who lat...

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Item number: 01879 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

Jean Baptiste Duffaud French, 1853-1927 St. Tropez Oil on canvas 13 by 21 ¾ in. W/frame 24 by 32 ¾ in. Signed lower left Jean-Baptiste Duffaud studied at the Ecole des Beaux-Arts in Marseilles under the direction of Dominique Antoine Magaud (1817-1899). Wishing to complete his artistic training, he went to Paris and received the teaching of Jean-Léon Gérôme. He exhibited at the Salon from 1875 to 1892, obtaining several honorable mentions. He was awarded the prestigious Marie Bashkirtseff...

Edward Widmayer American, 1923–2010 Magic Garden Oil on canvas 34 by 15 in, w/ frame 35 by 16 in Signed & dated 53 lower left Provenance: Private Collection New York Le Trianon Fin...

Marie Antoinette Boullard-Deve French, 1890-1970 Segovie Oil on canvas 29 by 21 ½ in. W/frame 39 by 31 ½ in. Signed lower left and titled and dated 1951 on the back Marie was born...

Emilio Grau-Sala Spanish, 1911-1975 Marchande de Fleurs Oil on Canvas 23 ¾ by 29 in, w/ frame 32 ½ by 37 ½ in Signed lower left Son of the draughtsman Juan Grau Miró, Grau Sala com...

Maurice Greenberg American, 1893-1996 Pharaoh and His Family on a Chariot Oil on canvas 22 ¾ by 26 ¾ in, w/ frame 29 by 32 ¼ in Signed lower left Maurice was born in Milwaukee, whe...

A magnificent set of 12 goblets made by Val St. Lambert. Each one is hand blown with cobalt crystal overlay, cut to clear with cameo cut frieze of Roman fig...

Albert Leon Gleizes French, 1881-1953 Trees in Autumn Oil on canvas 21 ¼ by 25 ½ in, w/ frame 30 ⅝ by 34 ¾ in Signed lower right This French painter and writer born Albert Leon Gle...

Cesar Buenaventura y Espinosa Filipino, 1922-1983 Crowded Houses Oil on canvas 23 ¾ by 35 ¾ in, w/ frame 30 ¼ by 41 ¾ in Signed lower right and dated 1966 No one knows the exact sc...

This is a perfect set of 12 handblown crystal cordials cut to clear in an Art Deco inspired floral pattern made by Webb, England. The base is cut with a radiating star pattern and an...

This set of 12 dinner plates were made by Coalport in 1889 and retailed by Gilman Collamore, New York. Evoking the colors and style of Sevres porcelain, they have shaped rims with mo...

These super rare and fun cocktail glasses will be the topic of conversation at any gathering. Each hand blown crystal goblet features a large circular connector with 2 dice ready for...

Vyacheslav Shraga Russian, 1953- Homage to Picasso Ink on paper 12 by 17 in. W/frame 22 by 27 in. Painter, graphic artist, sculptor Vyacheslav Sh...

Gaston Sebire French, 1920-2001 Sunset On the Coast Oil on canvas 29 by 36 ¼ in, w/ frame 36 ¼ by 43 ¾ in Signed lower right Gaston Sebire was born August 18, 1920, in Saint-Samson...

George Roux French, 1853-1929 Les Jardin du Versailles Oil on canvas 23 ⅝ by 32 in, w/ frame 30 ¼ by 38 ½ in Signed lower right George Roux was a French ...

Jean Salabet French, 20th Century Vue du Sacre Coeur, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of ...

Gertrude Fiske American, 1879-1961 Day at the Races Oil on Canvas 10 by 14 in, w/ frame 14 by 18 in Fiske (1879-1961) was a Boston School Painter, a...

Jacques Martin-Ferrieres French, 1893 – 1972 Mountainous Landscape Oil on canvas 25 ½ by 32 in, w/ frame 34 by 40 ¼ in Signed lower right “Martin Ferrieres” A painter remarkable ...

There is great and then there is magnificent and these plates made by Royal Crown Derby qualify as magnificent! This set of 12 dinner plates exhibit all of the characteristics of the...

Emanuele Cappello Italian, born 1936 Still Life with Bouquet of Flowers Oil on canvas 19 ½ by 27 ½ in, w/ frame 28 ¼ by 36 ¼ in Signed lower right

A Rare set of Four Petite Louis XV Painted & Parcel Gilt Side Chairs Stamped Tillard Circa 1750 Height 33 ½ in. Width 19 in. Depth 17 in. Jean-Baptiste ...

Maude Kaufman Eggemeyer American, 1877-1959 House with a Flower Garden Oil on board 16 by 20 in, w/ frame 21 ½ by 25 ¼ in Signed lower right A plein-air painter of landscapes and f...

Pierre Emile Lelong French, 1908-1984 Brittany Coast Oil on canvasboard 17 ¾ by 21 ¾ in, w/ frame 25 ⅝ by 29 ⅝ in Signed lower right Pierre Emile Gabriel Lelong was a neo-Impressio...

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...

* Available in additional sizes. Jeff Robb UK, born 1965 Artist Statement I’m continually inspired by the nude female form. It’s something that has, of course been worked on by art...

This is a familiar wheel cut motif that Baccarat used on vases and tazzas and this is beautifully executed on this tall vase. The solid and substantial clear blank is elegantly decor...

Louis-Emile Adan French, 1839-1937 A Lady in a Garden Oil on board 9 ⅝ by 13 in, w/ frame 14 ⅞ by 18 ⅛ in Signed lower left French painter Louis-Emile Adan was born in Paris. Little is known of his earliest introduction to the visual arts, but he was admitted to the École des Beaux-Arts, where he initially studied with François-Edouard Picot (1786 – 1866), a successful painter who had himself been part of Jacques-Louis David’s studio, and who was one of the most popular professors at the École. Adan’s work during the 1860s embraced the mainstream tradition of neo-classicism espoused by J.A.D. Ingres (1780-1867). Simultaneously, Adan seems to have taken an interest in painting elegant young women. These images had considerable popular appeal, especially when they featured fashionable clothing in the latest styles. The decade of the 1880s was very busy, both with annual painting submissions to the Salon and with an expanding role as a book illustrator. Toward the end of the decade, Adan’s painting changed significantly. His earlier curiosity about Realist themes took on a new urgency as the artist explored the rigors of rural life. By the middle of the 1880s, Adan was actively engaged in the naturalist movement. Adan’s submissions for the 1889 Exposition Universelle in Paris showcased his naturalist aesthetic. His reputation as a distinguished painter was further recognized in 1892 when he became a Chevalier of the Legion of Honor, and again in 1900 when he was asked to sit on the jury of both the Salon and the Salon des Artistes Français. Museums: Macon, Agen, Pau, Alençon, Lyon, Mulhouse, Rouen, Nice, Péronne, Nantes, Pfister Art...

Leon Dolice American, 1892-1960 Manhattan Skyline Pastel on paper 19 by 12 in. W/frame 25 by 18 in. Signed lower right The romantic backdrop of Vi...

An Important Neoclassical Style Bronze Cut Glass & Tole Peinte Eight Light Chandelier With scrolling candle arms and faceted tole panels painted wit...

c.1970 A-line dress in black double knit with a funnel neck and long set-in sleeves with turned-back cuffs. Adorning the front neck is a V of three rows of rhinestones composed of large and small sizes alternating on the two outer rows, with the smaller ones forming the center row; within the V is a sprinkling of the rhinestones. The wrists are trimmed with the same rhinestone pattern as the V. The dress is unlined except for the V; metal zipper in back. Labelled Abellá Paris...

Coat and dress ensemble by David Hayes, a Los Angeles designer known for his timeless ensembles and dresses and who counted among his famous clients Nancy Reagan. The coat is fashion...

This amazing hand blown Venetian vase made by Salviati, stands 20" tall and is decorated with applied pink and gold leaf. The vase has 2 intertwined snakes encircling the body and me...

Rhinestone-studded gold metal hoop earrings punctuated by three oval cabochons - green in center, red on one side and blue on the other. By Vogue Bijoux. Great for holiday.

This is a special pair of 19th C, Spode sauce tureens with matching attached underplates and handles. The raised molded relief depicting pheasants a...

John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

Samuel Robert produced some of the best leather designs during the 1960s-'80s. This unique example of his work emphasizes the contrast of white leather, the exterior of the jacket, a...

Louis Kronberg American, 1872-1965 Dancer in Green Pastel on board 14 by 21 in, w/ frame 20 ½ by 27 ½ in Signed lower right Louis Kronberg, a popular portraitist of the early 20th ...

This exquisite inkwell exhibits the mastery of Baccarat's workmanship. The molded crystal body is decorated in one of their more rare Classic patterns Moulure Russe with concentric swirling spirals...

Jean Salabet French, 20th Century La Madeleine, Paris Oil on canvas 10 ¾ by 13 ¾ in. W/frame 16 ½ by 19 ½ in. Signed lower right Jean Salabet was a School of Paris painter know ...