Hudson

This fine and very large coup or urn is made of a rare stone Lapis Medicea onyx. The form is based on the large decorative stonework found throughout the ancient world and then again...

This impressive pair of carved and gilt wood figural candlesticks makes a dramatic statement in a room . The fully carved figures in a left and right pose are well shaped and present well detailed faces and hands with wind swept clothes. Raised up on architectural plinths...

Signed "Nell Blaine" upper left in pencil. Signed, titled, dated verso on sheet. Signed, titled, dated verso on backing panel. The artist. Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Purchased by private collectors c.1994. By descent. Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). From her November 15, 1996 NYT obituary: Nell Blaine, a widely respected New York landscape painter and watercolorist, died yesterday at Mount Sinai Hospital. She was 74 and had homes in Manhattan and Gloucester, Mass. Ms. Blaine, who had been hospitalized since July, had been confined to a wheelchair since 1959, when she contracted polio. Ms. Blaine was born in Richmond, Va., in 1922, and first studied at the Richmond School of Art, now part of Virginia Commonwealth University. She moved to New York in 1942 to study painting with Hans Hofmann and later studied etching and engraving at Atelier 17 with Stanley William Hayter. During her first years in New York, her work, which had previously been tightly realist, turned abstract, inspired by Mondrian, Leger and Jean Helion. At one time she was the youngest member of the American Abstract Artists. She was also a founding member of the Jane Street Gallery, one of Manhattan's earliest artists' cooperatives, and had her first solo show there in 1945. Just as Ms. Blaine was becoming known as a promising abstract painter, and gaining the admiration of such critics as Clement Greenberg, she started to shift back to representation. Inspired in part by a trip with Larry Rivers in 1950 to Paris, where she was especially impressed by the work of Vuillard and Bonnard, she immersed herself in the tradition of 19th-century European painting. From the mid-1950's, she cultivated an increasingly painterly and colorful style, usually working directly from nature, or still life, with particular emphasis on the forms and hues of flowers. Her work retained a sense of all-over structure and pulsating energy that she nonetheless credited to abstract art. ''It all goes back to Mondrian,'' she would say. In the 1950's, Ms. Blaine was prominent among a circle of New York artists and poets that included John Ashbery, Frank O'Hara, Kenneth Koch, Mr. Rivers, Jane Freilicher, Leland Bell, Louisa Matthiasdottir, Robert De Niro Sr. and Rudy Burckhardt. She had her first solo show of representational work at the Tibor de Nagy Gallery in 1953 and was represented by the Poindexter Gallery until it closed in 1978, and, in recent years, by the Fischbach Gallery. During the 1950's she supported herself as a commercial artist, designing brochures for art galleries. In 1955, she designed the original logo, column heads and layout for The Village Voice. In 1957, Ms. Blaine was featured in Life magazine as one of five leading young female artists in America. In 1959, after several months of traveling and painting in Greece, she contracted severe bulbar polio on the island of Mykonos. ''To Nell Blaine,'' an exhibition organized at Poindexter to raise money for her hospital bills, included the work of 79 artists, including Saul Steinberg, Robert Motherwell, Elaine and Willem de Kooning, Philip Guston, Mr. Rivers, Ms. Freilicher and Robert Rauschenberg. After eight months in a New York hospital, including five months in an iron lung...

Hans Burkhardt frequently used live models for his figural pastels, which he maintained an interest in throughout his long career. Untitled (1972) Pastel on paper 25" x 20" Signed a...

Drawing/Etching Arm measures 8"h x 14"l

Modern painting in mineral pigments on mulberry paper with a silk brocade border.

A modernist coastal/dock scene by Edward Christiana. This painting is hand-signed "Edward Chrstiana '52" lower right. Exhibited: 1946 Munson-Williams-Proctor Institute; 9th Annual Exhibition 2004 Jameson Gallery, Portland, Maine; Edward Christiana (1912-1992) More about this artist: Edward Christiana was born in White Plains, New York in 1912. After high school the artist enrolled at Pratt Institute in Brooklyn, New York, graduating in 1933. After returning to the Mohawk Valley and obtaining work he enrolled in the School of Related Arts and Sciences at Munson-Williams-Proctor Arts Institute. In 1940, noted WPA artist William Palmer came to MWPAI to establish the School of Art, forerunner of the current Pratt at MWPAI. Mr.Christiana became involved with the School almost immediately and studied from 1941 until 1943 under Mr. Palmer, at which point he became an instructor himself and remained in this capacity until 1982. It was apparent at a very early stage in the development of Ed Christiana as an artist that he had a tremendous facility in the difficult medium of watercolor. By 1945, he had exhibited with the American Watercolor Society and did so again in 1947, 1949, and 1950. Mr. Christiana was even awarded the coveted William Church Osborne Purchase Prize in 1949 and 1950. He had his first one-man show at the Munson-Williams-Proctor Arts Institute in 1946, and would be so honored twice more; in 1954, and culminating with a major retrospective in 1989. By 1949 he was elected to the American Watercolor Society. He was represented in a group show at the Kraushaar Galleries in New York in 1951 and in another major one-man show at the Albany Institute of History and Art in 1956 where he received a purchase prize in oil. Strangely, after all of his early success in watercolor, he abandoned the medium in the early 50's to concentrate on oil painting. For over two decades he painted primarily in oil ranging from cubist inspired studies to his Marsden Hartley-inspired paintings of Mount Katahdin in the 1970's. By the mid 70's he had returned to watercolor. He was once quoted as saying "those who are familiar with my old paintings will be aware, I am sure, that in fact, they were not so far removed from watercolor, my technique in oils deriving positively from the aqueous medium." In the 1970's his watercolor style changed from the more wet and spontaneous style of the 40's to a dryer, slightly more controlled style, where the artist would often paint on dry paper, without wetting it prior to the application of paint. In the early 80's he returned to a wetter style, even more spontaneous than his method in the 40's. This culminated in his abstract work of the late 80's inspired partly by John Marin. Also, like Marin, Christiana painted representational work alongside very abstract work during the same period. Fellow artist Easton Pribble once said of Ed Christiana "If there were to be an honorary title -Painter Laureate- of the Mohawk Valley, Edward Christiana would certainly be the prime qualifier for that distinction." Christiana is known for his landscape views of the Mohawk Valley, her wild natural beauty as well as the architectural beauty of her towns and cities. He has also painted extensively in the Adirondacks as well as New Hampshire, Vermont, and especially Maine, which can almost be considered the artist's second home. He loved to paint the pastures, valleys, rivers, and waterfalls of the area as well as children playing on the grounds of his beloved Munson-Williams-Proctor Arts Institute and the neighborhoods surrounding it in Utica, New York. Edward Christiana painted almost right until his death in 1992. He was and still is a beloved man. No one I have talked to has had an unkind word to say about Ed Christiana, either as a teacher, artist, or friend. He was a prolific artist and was known to hand paint Christmas and Birthday cards...

Oil painting by Curtis Miller titled "Range Top" Signed and dated lower right frame. 1955.

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

This poster for an exhibition undertaken by the Smithsonian Institution and was produced as a Resident Associates Program Exhibit for the organizations 10th anniversary. The work is pencil signed and numbered 80 of 200. Davis was born in Washington DC in 1920 and died in the city he gave so much to in 1985. A major 20th-century figure in American painting Davis's contributions to Washington were invaluable in helping to establish DC as a center for contemporary art. Davis is also recognized as a prime mover in the national and international Color Abstract Movement and his ascendance to prominence started in the 1960s. He was never formally trained and learned his craft by constant gallery and museum visits and later said that this lack of boundaries from education freed him from any limitation on his work or process. Davis worked within the loosely formed Washington color school of painters which included other artists like Kenneth Nolan...

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

This cast bronze vessel was made in China as an honorific presentation circa 1920. Cast in the style of the Zhou dynasty it would have been used ritually ...

This very dramatic large modern mirror has circle cut corners and excellent but restained engraving to the mirror border frame. The engraving is i...

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

This console table designed to attach to a wall is made from what appears to be late 19th and early 20th century parts. It was most likely made from old parts in the middle to later ...

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

Pair of French Art Deco style brass and glass sconces with white glass faux candles. Matching chandelier available.

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...

Pair of French 1940's enameled brass sconces with etched mirror backs and frosted swirled glass shades.

Classic Impressionist still-life oil painting by American artist George Oberteuffer. Tabletop Arrangement (c.1925) Oil on canvas 30" x 36" 39 ½" x 45 ¼" x 2 ½" framed Signed "Ober...

Oil on canvas: "Bath House in Tokyo" by Frances Blakemore Frances Blakemore (1906-1997) was an American artist living for more than 50 years in Japa...

This simple classical piece of furniture was used as a ladies sewing table and to house, in the lower section, works in process. This table has the...

These industrial lights are form the 1940's. Finely aged with time, these enameled steel pendants with white interior are in good condition. Perfect for high ceilings.

The pair of French Black Forest rustic picture frames, shown here, are from the 19th Century and feature an intricately detailed mosaic of altern...

Very large sepia toned photograph of a serac on Mt. Athabasca. Titled "Serac". Signed but illegible.

Beautiful wooden table with carved out corner details , turned legs and a low cross stretcher. Wonderful addition to any home.

Curved side-rails and headboard with upholstered insert. Finished in café walnut and shown in natural linen. Custom finishes also available in cerused oak, ebonized walnut and medium...

This three tired dumbwaiter made in the late Edwardian period in the style of William IV has fine details and an interesting long lean profile. The con...

This table made in expensive imported mahogany was made in France, circa 1820. Stylish in an Empire form but in a then new easy less formulaic way showing the end of the countries ne...

Elegant white painted and parcel gilt Swedish Neoclassical Style mirror plate.

Japanese Two Panel Screen: Mountain Landscape with Calligraphy. Late Edo (c. 1850) painting of a dramatic mountainside carved by a waterfall with a crane flying in the foreground an...

The Christopher Draghi limited edition C-Print, shown here, was taken in 2006. Titled, "Almatea 2," the photograph is available framed and unframed. Each print is signed and dated ...

Versatile side table with multi-sided diagonal base and a shelf. A perfect match for Greenwich coffee table. Shown in medium cerused oak. Lead time: 6-8 weeks width: 28" depth: 18...

This pair of bowls made of lapis lazuli in the 20th century are set up on older gilded bronze stands. They are made not from the solid but veneered in the manner of Russian furniture, urns or columns and other table top accessories...

18"x24" limited edition historic photograph, edition 1/5. This photograph depicts ... Phillip Buehler is a New York based photographer who documents the deterioration and remnants o...

The rich wood tone and classic lines of this English sideboard from the 1960s makes it a highly desirable piece today. Featuring four cabinet doors and four top drawers, the sideboar...

This piece was created expressly for the purpose of being photographed for a photo series. Created of a sculpted brass metal mesh screen material mounted upon a solid wood base and c...

The exquisite carved wood frame mirror, shown here, is from France, c. 1890. Featuring an intricate carved wood frame, the mirror foliage scro...

This fine and unusual games table is of rare form, circa 1900 and 1910, is made of mahogany and deal secondaries. The brass fittings have all been chrome-plated, a feature usually re...

Acrylic, fabric, and paper on board Each board is 12 x 12 inches with 1 inch space between them

pastel on paper

pastel on paper

acrylic on paper

acrylic on paper

Antique bronze sculptures of puppies playing. Traces of gold on both, one holding tassels in its mouth. Measurements: 3 1/2" h x 6 1/2" w x 3 3/4" d and 4 1/4" h x 5 1/2" w x 3 3/4" d

pastel on paper

Made in America circa 1955 this low wrought iron table is made to resemble bamboo and is then gilded and painted with a wavy decorative border along the apron. Set within the frame o...

Rosewood Chinese long table with woven bamboo top.

Soft mineral pigments on silk with brocade border. Signature and seal read: Jyogyu

Entitled "Lens Cluster" from a series done in 2012 through 2017, This work by Caldwell is an excellent example of his work where his efforts are set using glass as a sculptural mediu...

Color pencil, ink pen and Chinese ink on wooden panel

Oil on canvas

Color pencil, ink pen and Chinese ink on wooden panel

Modern Parsons style teak console with two drawers and one open shelf. Drawers have a fluted edge pull. Shown in oil-rubbed teak. Custom finishes also available in light cerused oak,...

Stone Lithograph on Rives BFK

Meiji period (1868 - 1912) calligraphy painting. Abstract character reads: Kumo (cloud). Seal on the upper right reads Shogazen, seal on the upper left reads Hosai. Ink on mulberr...

This large and impressive wrought iron Louis XV style console, crafted in the 1980s, is accented with large polished cast bronze mounts consisting of acanthus leaves, laurel leaves and ball spacers between the steel elements. The table wall mounts and appears to float in space with dynamic tension. The top and bottom are crafted from tessellated dark green gray marble that adds a rich patterned surface to the overall design. Condition Disclosure: While we do our best to carefully inspect and give a full report on the condition of any item we sell, pointing out any repairs or alterations that may have been done to the best of our knowledge, as is the case with any antique and vintage item, there is a possibility that at some point in the life of the piece that there may have been damaged which has been professionally repaired and as such a repair undetectable it is therefore impossible for us to disclose... we recommend that you also read and agree to the 1st dibs user agreement...

Flowers / Bouquet / Flora 29.75 x 29.75 inches framed Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale...

This modern vintage 1940s walnut coffee table is centered on a black glass top creating a dynamic play of light and dark contrasts. The wood grains are well-chosen to conform to the ...