Maine

Rice Pereira, Irene. THE ASCENT OF THE HEAVENLY TWINS. Drawing, 1964. White gouache on black paper, mounted on board. Signed, dated, and inscribed "To Nat and Doris" in white gouache...

Bacon, Peggy. PICNIC. Drypoint, 1926. Titled and signed in pencil. 5 7/8 x 8 3/8 inches. Printed on laid paper with deckle on four sides. Very faint matstain, else in excellent c...

Oil on panel by Jenness Cortez signed and dated lower left beautifully framed and matted measuring 16" x 21" including the frame. This painting features two jockeys and their race ho...

Meyerowitz, William. N.Y. STEEL AND IRON. Drypoint, 1928. Edition of 40. Ttiled, numbered "2/40" and signed in pencil. 12 x 9 7/8 inches (plate), 13 1/2 x 11 inches (sheet). Inexcell...

Baskin, Leonard. MATTHIAS GRUNEWALD. F.O'S 428. Etching, 1962. From "Etchings of Ten Favorite Artists," Delphic Arts, NY, 1963. An artist's proof aside from the edition of 50. Annota...

Pair of stunning and substantial wrought iron scroll back chairs in the French style with straight backs designed with central support, branching out in swooping arched forms with a ...

Peterdi, Gabor. TRIUMPH OF SPRING, II. J.104. Etching and engraving with three stencilled colors, 1953. According to the catalogue this is an edition of 35, but this copy is inscribe...

A beautiful European floral study dating to the 18th century, executed primarily in sanguine chalk on laid paper, with subtle blue watercolor/gouache highlights. The composition de...

Horter, Earl. NEW YORK CITYSCAPE. Etching, not dated. Edition size not known. Printed on heavy laid paper, and signed in pencil. 6 1/2 x 6 1/8 inche...

This piece features adjustable shelving with "push-to-open" door hardware. The counter-top and base are cast concrete. The piece is wrapped and fully finished with steel that is empl...

Oil on canvas, signed in the lower left and presented in a magnificent carved and gilt frame. This painting has a wonderful atmosphere to it and measures 40" x 56" including the fram...

Edition of 10 Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; co...

Edition of 10 Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; co...

Painted in 1984, Foghorn Time is a sweeping and immersive abstraction by Tino Zago (Italian-American, b. 1937)( MIlo Baughman). Executed in acrylic on canvas, the monumental format—m...

A striking and architectural example of Italian Postmodern lighting design, this three-column torchiere floor lamp was manufactured in Milan, Italy, circa 1985. The fixture embodies ...

Oil on panel signed in the lower right corner and presented in a period frame measuring 21" x 18.5". Provenance: Private Collection Bradbury Art and Antiques, Wiscasset, ME Benj...

Thon, William (American, 1906-2000) UNTITLED SKETCHBOOK DRAWING #1. Ink on paper, not dated, but circa 1960s. Unsigned.The sketchbook identified by an Estate label on its cover. 5 x ...

Hirsch, Joseph. MONUMENT. Lithograph, 1963. Cole 44. 14 1/8 x 22 1/2 in. Edition of 50 (numbered 35/50) Signed in pencil. Published by AAA; printed by Lucien Detruit, Paris, on Arche...

Soyer, Raphael (American, born Russia, 1899-1987). BACKSTAGE. Cole 43, Gettings 43. Etching and drypoint, c. 1937. Edition size not known, but likely only about 25, according to Soye...

A pair of Australian pearls are set into a beautiful design of 14 karats yellow gold set with 0.70 carats of Natural ruby. These gorgeous earrings allow the wearer on every occasion....

Ornately carved 19th century French Louis XV armchair with original gilded gold finish and upholstered in fancy burgundy silk. #4481 Measures: H seat 19", H arm 24.25".

Barnet, Will. (American1911-2012) UNTITLED - INDIAN SPACE DRAWING. Pencil and ink on paper envelope, circa 1952. Signed in pencil, verso. 7 1/4 x 5 1/4 inches. There is a rough sketc...

An amazing example of an applique felt work picture of strawberries in a shadowbox frame. Dating from the 19th century either American or English. One of the finer examples that I ...

A lovely, highly detailed hand painted French Barbotine Majolica Faience soup tureen, with handles, feet and nicely sculpted cherry tree decorated cover. The painted decoration on t...

Jahn, Elena (American, 1938-2014). UNTITLED. Etching with hand-coloring, not dated. 11 3/8 x 13 inches. Inexcellent condition.

French Art Deco sculpture possibly by Tedd, France, 1930s. "Lady and German shepherd". Cold painted spelter and marble. Raised on a marble base. Intricate details in the lady's fan a...

“A Garden View 3” is an explosion of spring color bursting out of the square canvas. This medium sized oil on canvas was inspired by spring as well as the prior painting A Garden Vie...

This striking, sculptural mid-century table lamp features an exceptionally detailed organic base crafted to emulate the complex growth of natural marine porcupine coral. Produced dur...

This writer's desk is an exercise in restraint. This sleek desk’s tapered legs are made from solid Walnut and are detachable thanks to the custom blackene...

Marsh, Reginald. DISCUSSION or AT THE BASE OF UNION SQ. WASH STATUE. Sasowsky 152. Etching, 1934. Signed in pencil. There was no edition; the number printed is unknown, but likely o...

“A Garden View 2”, by Maine artist Anita Loomis, is an explosion of spring color bursting from the canvas. This medium sized oil on canvas was inspired by spring as well as the prior painting A Garden View 1, which rests within a reclaimed window frame. Envisioned as a glimpse of a past or future spring garden, elements of a fence can be made out in the composition. With painted gallery edges, the color continues around the edges. This abstract oil painting has heavy impasto texture and Loomis’ characteristic use of active black line, as well as her affinity for intensely saturated pinks and greens. The original title of this work is Skipping Through the Garden: View 2, which has been simplified for this listing. Anita Loomis is a painter who works from her studio in Kittery, Maine. Communication and the natural world are key subjects of her paintings. Her occasional tonal landscapes offer views of imagined natural spaces for escape and contemplation. Anita Loomis creates paintings that explore facets of human dialogue and relationships. Through painting, humor, and a deep curiosity about human imperfection, she investigates what it means to navigate communication with people who see the world through different cultural lenses. Loomis paints to shine a light on the common threads that connect our human experiences and spotlight the value of empathy. Loomis earned her BA in Studio Art from Framingham State University in Massachusetts, and her MA with a concentration in Arts Management from the University of Central Florida. She worked in the field of architectural stained glass for fifteen years and has focused on painting since 2004. She lives and works in Kittery, Maine. Her work has been exhibited at Miller White Gallery, South Dennis, MA; Fountain Street Gallery, Boston, MA, and various exhibitions in New England, Pennsylvania...

American Chippendale walnut graduated chest of drawers with stunning early brass pulls and escutcheons, and 5 graduating sized spacious drawers, all resting on lovely turned feet, la...

Hornby, Lester. RAINY SUNDAY AT SAN MARCO. Falk, 308, Kennedy 32. Etching, 1908. Edition of 60. Titled and signed in the plate and signed in pencil in the margin, lower right. 5 7/8 ...

Old master painting featuring a busy port city in the 17th century. Most likely Dutch and very close in style to the work of Thomas Heeremans. This is...

(Mazell, Peter). THE COMMON BUZZARD after Charles Collins. Engraving with hand-coloring, c. 1766. A plate from The British Zoology, London 1777. Titled in the plate, top, and with th...

A set of six Enrique Garcel dining chairs, (2 arm and 4 side) custom made in a studio in Columbia, South America in the 1970s. . The Italianate styled chairs are nicely scaled for co...

Marsh, Reginald. FROZEN CUSTARD. S.183. Etching and engraving, 1939. Second State of two. Edition of only 18, printed by Marsh and signed and titled in pencil. 7 x 10 inches, 178 x 2...

This writer's desk is an exercise in restraint. This sleek desk’s tapered legs are made from solid Walnut and are detachable thanks to the custom blackene...

Hayter, Stanley William. COMBAT SOUSMARIN (Black & Moorhead 233). Engraving and soft-ground etching in colors, 1957. Signed, titled, dated and numbered 2/50 in pencil. Printed on BFK...

Bacon, Peggy (American, 1895-1987). PORTRAIT OF JULIANA FORCE. Not dated. Conte crayon on paper. Signed in pencil, lower right. Identified in pencil lower left, in another hand. 11 1...

Edouard Henry-Laurent was born in Paris in 1859. He exhibited in avant-garde galleries including Le Barc de Boutteville in 1894, 1896 and 1897, then at the Salon d'Automne in 1903 an...

Manessier, Alfred. FLAMME VIVE. Lithograph in colors, 1959. Artist's Proof in addition to the edition of 175. Inscribed "Epreuve d'Artiste" and signed in pencil. 20 x 13 1/2 inches, ...

A well executed oil on panel featuring a monk in quiet contemplation. Most likely presented in the original frame measuring 20" x 18" overall and signed in the upper right corner. ...

Heliker, John. (American, 1909-2000). UNTITLED PORTRAIT. Ink on paper, not dated, likely 1930s. The image is of a man, likely a factory worker, seated, wearing a cap, leaning his face on one hand, with factory structures in the background. Signed, lower right. c. 8 x 8 inches 0n a larger sheet. In excellent condition. Heliker was born in Yonkers and spent his adult life dividing his time between Manhattan, where he taught art for decades, and Great Cranberry Island...

Isabey, Eugene. BARQUE SE HALANT SUR UNE BOUEE. C.91. Lithograph, 1844. 9 3/16 x 13 3/4 inches; 234 x352 mm. On Chine colle, mounted to a sheet 14 1/2 x 20 inches. At top center of t...

Elegant French Louis XV marble top gold gilt painted coffee table with exquisite embossed leather top. The graceful contours of the style have been presented on all four sides with a...

Classic 19th century French Louis XV style cream painted walnut armchairs newly upholstered in a high end complementary fabric. Original paint with lovely patina! Will add extra sea...

This commode is an elegant, sophisticated example of 19th century craftsmanship inspired by the classic Louis XV style. Crafted from beautifully figured, veneered walnut wood, the co...

This large-scale American table lamp dates from the late 1950s and represents the mid-century architectural style known as Streamlined Chinoiserie. Rather than relying on applied sur...

From the easel of New England painter, Anita Loomis, “The Marker” is a 20 x 20 x 1.5 inch oil painting on canvas that captures a scene from a park that was once the site of an old pa...

A particularly beautiful French Louis XVI bombe commode with intricate mixed wood marquetry in walnut and fruitwoods. Top is a neutral creamy marble. 2...

Jacquette, Yvonne. (American, 1934-2023). SKOWHEGAN II Aquatint, 1987. Editon of 35. Signed, dated and numbered 12/35, all in pencil. 20 1/2 x 15 7/8 inches (plate), 29 x 22 1/2 inch...

Lasansky, Mauricio (American, 1914-2012. EL MOZO. Lasansky 188. Engraving, etching, soft ground, open-bite, drypoint and resist ground, 1966. Printed from three plates: a copper mast...

This is an authentic mid-century modern industrial desk lamp, Model 110 "Schwanenhals" (Gooseneck), manufactured by the Hannoversche Lampenfabrik (Hala Zeeland) in Hannover, Germany,...

Avery, Milton. MARCH WITH BABUSHKA (HEAD OF MARCH). Drypoint, 1948. Edition of 100, published by Collectors of American Art. Unsigned, as called for (prints from this edition were not signed). 7 x 6 5/8 inches (plate size, measured along the edges), 9 3/4 x 9 5/8 (image, measured on the diagonal, as oriented), 11 1/4 x 11 inches (sheet). In excellent condition. Three of the four corners of the plate have been trimmed to about one inch from the platemark. A spare and elegant portrait of the artist's daughter, the artist March Avery.

Juliet M. White was born in Philadelphia in 1880. She studied at the Philadelphia School of Design for Women, which became the largest art school for women in the United States. Its ...

Logan, Herschel C. (American, 1901-1987) MORNING SUNLIGHT. woodcut, not dated. Initialed in the block and titled and signed in pencil. 5 1/2 x 7 5/8 inches, (image) 7 1/4 x 8 3/4 inc...

"Banquet" woodcut on paper by Franco Gentilini, Italian, 1909-1981, signed and numbered 88/120 in pencil. Sheet size 20.75" x 27" and with frame 25.25" x 31.75".

Painted on artist-quality acid-free 140 lb. watercolor paper. -Professional quality artists with watercolor paints. (Sennelier) -Acid-free paper. -Size: 5" x 7" -Signature on the...

Gorsline, Douglas (American, 1913-1985). THE NEW FUR. Etching, 1939. 5 x 3 1/16 inches (plate), 7 3/4 X 4 1/2 inches (sheet). Signed, titled and dated in penc...