Continental US

A fantastic and beautiful pair of antique 19th century mintons English porcelain Louis XVI style Sevres style blue nouveau ground hand-painted and hand-tooled-gilt, oval-shaped cover...

Signed lower left, 'Pauline Palmer' (American, 1867-1938) and painted circa 1915, two years after the artist's first solo exhibition at the Art Institute of Chicago. Exhibited: Chicago Galleries Association and titled, 'Sunny Yards' (attached, partial label from original frame) A staunch proponent of pure Impressionism at the turn of the twentieth century, Pauline Palmer influenced the world of American art far beyond her Midwestern art community. Primarily known for her landscapes and portraits, Palmer rejected the waves of modernism that hit the United States in the teens and twenties, remaining true to the traditions of Impressionism. In 1923, she established the Association of Chicago Painters and Sculptors as an alternative to the increasing number of institutions celebrating Abstraction and Cubism. Pauline Palmer was enrolled at the Art Institute of Chicago from 1893 to 1898, and studied with some of the most prominent artists of the period, including William Merritt Chase and Frank Duveneck. Following her graduation, Palmer moved to Paris and attended the Académie de la Grande Chaumiére and the Académie Colarossi, where she studied under Raphael Collin. While in France, she exhibited with success including at the Paris Salon each year from 1903-06 and, again, in 1911. Her principal teacher and friend in Paris was the American Impressionist, Richard Emil Miller, whose shimmering handling of light made a profound impression upon her. Palmer also traveled extensively throughout Europe, a rite of passage for aspiring artists of her time. Returning to Paris, she studied with Gustave Courtois and Lucien Simon, both exemplars of compositional structure. Upon her return to the United States, Palmer set up her first American studio in the legendary Tree Studios building in Chicago. The artist's husband, Dr. Albert Palmer, whom she had married in 1891, both supported and encouraged his wife's artistic development. The couple kept a summer home in Provincetown, Massachusetts, where she made friends with many of the Portuguese fishermen's families, often using their children and the routines of their daily lives as subject matter for her painting. Pauline Palmer exhibited widely and with success, including in Italy, France, Norway and throughout the United States. Her works were shown at the National Association of Women Painters and Sculptors and, beginning in 1899, she exhibited at the Art Institute of Chicago for twenty-seven consecutive years. Over the course of her long career, she exhibited over 250 paintings at the Art Institute of Chicago, including at two solo exhibitions. She was the recipient of numerous prizes, medals and juried awards including nearly all the AIC's major awards, purchase prizes and honorable mention citations. Palmer also received a gold medal from the Colarossi Academy in Paris. Involved in numerous artist organizations, she was a member of the Chicago Municipal Art League, the Chicago Art Guild, the Chicago Arts Club and a charter member of the Chicago Women's Salon. Elected the first woman president of the Chicago Society of Artists, she went on to serve as president of both the Art Institute Alumni Association and the Chicago Association of Painters and Sculptors. Considered by the Modernists of her day to be a traditionalist, Pauline Palmer remained true to her artistic vision and she continues to be regarded as one of the leading women of American Impressionism. Her light-filled, colorful compositions captured landscapes and scenes of American daily life with unusual freshness and seeming effortlessness. Celebrated during her life as "Chicago's Painter Lady," Palmer was honored twelve years after her death by a posthumous retrospective at the Art Institute of Chicago and the establishment of an annual scholarship awarded in her honor by the Art Institute of Chicago. (with thanks to Hali Thurber) CHRONOLOGY 1867, Born in McHenry, IL 1885, Moves to Chicago to teach art 1891, Marries Dr. Albert Elwood Palmer 1893, Exhibits, World's Columbian Exposition, Chicago 1896, First exhibits at the Art institute of Chicago 1898, Exhibits at Exposition in Omaha, NE 1899, First exhibit, Pennsylvania Academy of Fine Arts 1900-1902, Studies with various artists in Paris 1901, Exhibits at Exposition in Buffalo 1903-1906, Exhibits at Paris Salon 1904, Exhibits at Universal Exposition in St. Louis, 1907, Four prizes at the Art Institute of Chicago 1911, Exhibits at the Paris Salon 1911, Exhibits at the Expositione de Belle Arti, Naples 1913, Solo exhibition, Art Institute of Chicago 1915, First prize, Society of Western Artists 1917, Opens first American studio in Chicago 1918, First woman president, Chicago Society of Artists 1918-1929, holds position of president for 11 years 1918-1921, Silver medals, Society of Chicago Artists 1921, Silver medal at Peoria Society of Allied Artists 1927, President, The Art Institute Alumni Association 1929-1931, President, Chicago Association of Painters and Sculptors 1938, Dies, Trondheim, Norway AWARDS 1904, Universal Exposition in St. Louis, bronze medal 1907, Art Institute 's Chicago Artists' Exhibition 1915, Society of Western Artists exhibition, first prize 1918, Society of Chicago Artists, silver medal 1921, Peoria Society of Allied, silver medal Solo Exhibitions: 1913, Art Institute of Chicago 1939, Art Institute of Chicago, memorial exhibition Union League Club of Chicago, memorial exhibition Group Exhibitions: 1893, World's Columbian Exposition in Chicago 1896, Art institute of Chicago 1898, Exposition in Omaha, NE 1899, Pennsylvania Academy of Fine Arts 1899-1926, Art Institute of Chicago 1901, Exposition in Buffalo 1903-06 Paris Salon 1904, Universal Exposition in St. Louis 1911, Paris Salon 1911, Expositione de Belle Arti, Naples 1915, Exposition in San Francisco 1950, Chicago Galleries Association 1984, Lakeview Museum of Arts and Sciences, Peoria Memberships: 1918-29, First woman President,Chicago Society of Artists 1927, President of The Art Institute Alumni Association 1929-31, President of Chicago Association of Painters and Sculptors Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. X, page 523; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. XXVI, page 129; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. III, page 2512; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, page 708; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. II, page 1047; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 326; Pauline Lennards Palmer...

FACTORY / HOUSE: Zenith for Birch & Gaydon Ltd. STYLE / REFERENCE: Military WW I METAL / MATERIAL: Sterling Silver DIMENSIONS: Length 39mm X Diameter 36mm CIRCA: 1915 MOVEMENT / C...

Pierre Auguste Renoir, 'Baigneuse Debout, à Mi-Jambes (Woman Bathing, Standing Up to Her Knees in Water)', 1910, etching, edition not stated, Delteil 23. Unsigned as published. A fin...

Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Size: 20 x 30 Frame: 26 x 36 Medium: Oil Wash? Watercolor? Dated: 1917 "Misty Bayou" Housed in the original magnificent frame. Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner. Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration. Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934. Sources: Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. Biography from The Johnson Collection ALEXANDER JOHN DRYSDALE (1870–1934) Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...

English leather book hinged hideaway decanter set with original fitted interior gilt bottle and glasses, Mid-19th Century

Antique Jacquard Tapestry Pillow; size 1'5” x 1'8”. An antique decorative pillow with floral elements allover a gray green central field, size 1'5" x 1'8". This lovely decorative ...

This beautiful and rare piece came from a Parisian lawyer office to hold the confidential files. French oak cabinet with 24 removable cardboard drawers/boxes with brass latches (box ...

A gorgeous antique Art Nouveau period bronze table vanity mirror with a lady on a swing France, Circa 1910 Measures: 14"W x 6"D x 17"H. Good original vintage condition.

Crafted by the iconic Tiffany & Co., this Bronze Doré calendar and memorandum holder exemplifies early 20th-century elegance, crafted in the United States, circa 1910. Designed in th...

Lovely Japanese Edo Period (1603-1867) Imari Porcelain Vase in a European form. Created with a vertical scalloped surface, hand painted and hand thrown . Decorated with a medallion i...

Antique Tiffany and Co Pocket Watch. 18k Yellow gold Case 30mm Round Case. Please refer to pictures to see the movement. Condition: Winds up and ticks. Second hand moves smoothly....

A good antique carved Tramp Art wall pocket with hearts, mirrors & wings by John Zadora, Pennsylvania, Circa 1910. The wall pocket of large size and decorated with 'wings' and five s...

Designed as a paperclip link chain suspending a foliate motif pendant from a quatrefoil surmount Surmount and pendant are pierced platinum-topped gold displaying sweeping foliate mot...

A lithograph from the "Vincent Van Gogh" portfolio with text by Oskar Hagen published by Marees-Gesellschaft in Munich 1919. The portfolio consisted of 15 lithographic reproductions of drawings and watercolors. The artwork is accompanied by a copy of the colophon. Artist: Vincent van Gogh (After) Title: The Rhone River...

Annual Events for Young Murasaki (July) - Tales of Genji - Japanese Woodblock Rightmost panel a triptych, depicting monthly events for Wakamurasaki (Young Murasaki). This is the month of July. There appears to be a lesson taking place, possibly for writing or poetry. Artist: Toyokuni III/Kunisada (1786 - 1864) Publisher: Ebisu-ya Shoshichist Presented in a new blue mat. Mat size: 19"H x 13"W Paper size: 14.5"H x 10"W Commentary on the triptych: In the Edo period, Tanabata was designated as one of the five seasonal festivals, and became an annual event for the imperial court, aristocrats, and samurai families, and gradually came to be celebrated by the general public. Its origins are said to be a combination of the Kikoden festival, which originated from the Chinese legend of Altair and the Weaver Girl, and Japan's ancient Tanabata women's faith. Ink is ground with dew that has accumulated on potato leaves, poems and wishes are written on five colored strips of paper, which are then hung on bamboo branches to celebrate the two stars that meet once a year. Although the illustration is a Genji painting...

A gorgeous Arts & Crafts or Art Nouveau period Favrile iridescent art glass vase with tadpole design By Louis Comfort Tiffany for Tiffany Studios (signed to the underside) USA, Cir...

A gorgeous Arts & Crafts or Art Nouveau period Favrile iridescent art glass cabinet vase By Louis Comfort Tiffany for Tiffany Studios (signed to the underside) USA, Circa 1910 Mea...

The "Winged Globe" of Egypt is an ancient symbol of the protection and divinity often found above temple gates and worn by Egyptian kings. This spectacular Winged Globe brooch featu...

Fabulous and comfortable arts & crafts mission rocker by Harden c1910. Mortise and tenon construction all pegged and with wide slats under the arms and was refinished previously. Not...

Turn of the century heavy 1 inch thick Vitrolite glass work surface tabletop which is set on a heavy stained and solid maple block workbench base. Wonderful Kitchen Island or Entrywa...

Antique Louis XV style gilt wood (gold Leaf) console table with marble top, circa 1910. With a Carrara marble top with nicely detailed front and side edges, foliate carved frieze, ca...

Artist: Utagawa Hiroshige (1797 - 1858) Series: The Fifty-three Stations of the Tokaido (Upright) Number: 40 Chiryu: The Former Site of the Irises at Eightbridge Village (Chiryu, Yatsuhashimura kakitsubata no koseki) Medium: Woodblock Print Date: 1855 Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Tsutaya Kichizo Seals: Aratame and date Signature: Hiroshige hitsu...

A fine antique Victorian mourning band ring. In 9k gold. Channel set with a strand of braided hair. Engraved with a name to a plaque on the fron...

Antique Handmade Gold Plated L Handle Walking Stick  For Men Year 1910 (Possible Gold) This incredibly detailed piece features a beautiful L-Style Gold-Plated Handle set atop a ebon...

Signed lower left, 'L. Simon' for Lucien Simon (French, 1861-1945) and painted circa 1919. Partially titled, verso, on old label. Provenance: Austin Hills estate, San Francisco. Pre...

Vainqueur (Victorious) A Very Fine French Bronze by Eugene Marioton (1857-1933), excellent condition, depicting a young warrior with right arm extended holding a laurel branch- left ...

From the storied Gilded Age firm of Minton, England we have 12 elegant cobalt blue with raised gilding plates that were custom ordered through the retailer Davis, Collamore and Compa...

A Bar Harbor style wicker arm chair in a rare double strand weave in natural finish, with decorative colored trim in black ,green and cranberry red , American .C..1910 attributed to ...

Wonderful Edwardian Bent Wood Hat Box with metal riveted banding for support on all edges. Great for storage, European Early 1900's. 18" x 11" high.

This extraordinary antique french blue opaline glass pitcher and bowl wash set dates from the middle of the 19th century. The pure co...

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

Antique Blue Enamel Daisy Earrings in 14k Gold with Diamond Accents, Circa 1910 Charming and delicately re-imagined, this elegant pair of antique earrings brings new life to early 2...

A 14k gold pendant featuring marsh with rose gold and platinum accents. The pendant was originally an antique brooch (circa 1910) that our jeweler transformed by removing the pin fi...

Rare antique imperial russian era 1850s 14k gold large brooch centered with carnelian carved cameo brooch made in st petersburg city 1850s (messures 5cm hall marked 56 imperial russi...

Pair of wonderfully aged brass field binoculars with moveable brass eye shields, which help to give clearer views without additional light coming through the sides. This pair of bin...

A charming 19th century French Provincial prie-dieu/chair of carved cherry wood and handwoven rush seating, having lovely, scalloped details. The top chair seat pulls up in order to ...

Early Pine Dining Table From Spain, Circa 1850

This is a lovely antique Suzani textile from Uzbekistan, circa 1850s, with silk embroidery on linen fabric.

FACTORY / HOUSE: Longines for Tiffany & Co. STYLE / REFERENCE: Art Deco / Reference 97 METAL / MATERIAL: 14Kt Solid Gold / Kiln Fired Enamel CIRCA / YEAR: 1919 DIMENSIONS / SIZE: Le...

Buffet from France in the Louis XVI style. This piece is made of striped mahogany with striking hand-crafted detail throughout. There are four doors that open to interior shelving. I...

Centering an oval shaped opal cabochon measuring 7.0 x 10.0 mm Translucent white in body color with spectral play-of-color Bead set with a single cut diamond halo surround Weighing a...

Cartier saltwater pearl necklace with original box. 85 natural Saltwater Pearls set together by a 56 round cut diamond set screw closure. This marv...

Henry Charles Hannig (1883 - 1948) The Green Parasol Oil on canvas mounted on board 6 x 7 3/4 inches Provenance: R.H. Love Galleries, Chicago, Illinois Private Collection, Lake Orion, Michigan Hannig, born in Hirschberg, Germany on 27 February 1883, came to America with his parents at the age of seven. He attended school in the southwest suburbs before the family settled in Chicago. Young Henry enrolled in the Chicago Academy of Fine Arts where Lawton Parker became his mentor. He made ends meet by working in industrial design and illustration. By 1908 he was a pupil in the School of the Art Institute of Chicago where students followed the traditional European drawing curriculum, beginning with the copying of master engravings and drawing after plaster casts, then concentrating on the nude figure. Students worked toward the goal of winning various academic prizes. One of Hannig's fellow students was Louis Ritman...

Antique French Buffet in the style of Louis XIII made in the mid-1800's. The Antique French Buffet was constructed from a mix of woods from beautiful French white oak to pine. Origin...

This is a beautiful set of eleven Hammersley and Company English wide rim soup bowls. They were exclusively made for Ovington Brothers in New York, which...

A set of 8 stained pine dining chairs designed and produced in the US, c. 1910s. seat height 17.75” 

David Roberts: 1796-1864. Very important and well Listed 19th century Scottish artist. He has had Auction results for paintings in excess of $1 million. Nevertheless, he is most reco...

A gorgeous Arts & Crafts or Art Nouveau period Favrile iridescent art glass bud vase By Louis Comfort Tiffany for Tiffany Studios (signed to the underside) USA, Circa 1910 Measure...

This exquisite pair of Art Nouveau perfume bottles, crafted by the esteemed Steuben Glass Company around 1910, exemplifies the elegance and innovation of the period. Each bottle show...

Centering an oval shaped turquoise cabochon measuring 4.5 x 6.5 mm Opaque vibrant robin's egg blue in color - bead set with halo surround Comprised of old European cut diamonds prong...

Ring Size: 8 Metal Type: 14K Yellow Gold [Hallmarked, and Tested] Weight: 2.9 grams Center Diamond Details: Weight: 1.36ct Cut: Old European brilliant Color: M Clarity: VS1 Side Di...

Probably circa 1910, decorative painting with craquelure throughout. Old dark varnish. The sky near frame edge has thicker paint suggesting some later in painting. Stretcher marks sh...

English Silverplate Hot Water Urn, Early 20th C., having a reeded urn, original hand carved hardwood spigot handle, matching hardwood cover knob and with its original alcohol burner...

Metal Type: 14 karat Yellow Gold [Tested] Weight: 3.6 grams Center Stone Details: Weight: 1.00 carat, total weight Cut: Oval Color: Deep Green Clarity: VS Diamond Details: Weigh...

This is a lovely 18th century Georgian chest of drawers with two short and three long drawers. The chest stands on shaped bracket feet. The drawers are bannded with walnut and fitted...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Usable, the joinery is tight. May have older repairs, but we have done no restorations. W 21.75 x D 20 x Seat H 17 / Back H 35.75 in.

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.44 x 8.31 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

Antique French impressionist signed landscape oil painting. Oil on board. Signed. Framed. Image size, 15.5L x 11.5H.