Maine

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...

Each backplate topped with a mask of Athena surmounted by an owl and ending in a stylized bellflower and anthemion, issuing three leaf-wrapped scrolling arms. Electrified. André-Antoine Ravrio (1759-1814) was a French sculptor in bronze and was made a master founder in 1777 setting up in business 1790. Although Ravrio enjoyed success during Louis XVI’s reign, he achieved far greater fame under Napoleon. He took part in the first Exposition de l’Industrie, Paris, 1803 and then won a silver medal there in 1806. The same year he supplied a number of bronze furnishings for the Empress Joséphine’s apartments in the Tuileries and in 1810 was appointed as the Emperor’s chief bronzier. In this capicity he supplied some of the finest Empire bronze pieces, girandoles, candelabras and lamps as well as ornate furniture...

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...

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...

(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...

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...

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...

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

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

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...

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...

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...

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....

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...

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...

Exquisite and rare lyre leg and iron Spanish colonial solid oak plank top multipurpose table from the early 19th century in stunning single plank top construction, with lovely triple...

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 ...

Barnet, Will. SWING AT DUSK. Szoke 95, Cole 94, Johnson 81. Lithograph, 1947. Edition of 25, printed by the artist on Rives Paper. 10 7/8 x 14 inches (image), 15 1/2 x 22 7/8 inches ...

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.

"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".

This modern Minimalist bench is constructed from two structural oak beams that appear to float upon a welded steel frame. These historic beams were salvaged f...

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...

Frasconi, Antonio. NAILS. Baltimore 505. Woodcut, 1964. Edition of 15. Numbered "10/15," titled and signed in pencil within the image. 18 x 23 3/4 inches (image printed on the full ...

Clark, Roland. EVENING FLIGHT. Derrydale 11. Etching and drypoint, 1929. Edition of 75. Signed in pencil. 12 x 15 inches. In excellent condition.

Aaron Berkman was born in Hartford, Connecticut in 1900. In 1916 Berkman attended the Connecticut League of Art Students, founded by Charles Noel Flagg. Beginning in 1919 he studied under Albertus E. Jones at the Hartford Art School. Berkman was influenced during this time by George Inness and John Singer Sargent and the Old Masters. He received a scholarship to the Museum Art School of Boston in 1921 and then traveled to Europe, remaining there from 1924 through 1925. He spent time in France, Italy, Spain, Holland and Belgium. In 1929 Berkman moved to New York City, continuing a friendship and painting relationship with Milton Avery. He was appointed by the W.P.A. as Director of the WPA Art Center at the 92nd Street Y in New York City. Berkman helped established the A.C.A. Gallery in New York City at 52 West 8th St., the first Artist Cooperative Gallery in New York City. He spent summers on Monhegan Island in...

Moy, Seong (American, born China, 1921-2013). SPRING RAIN. Color woodcut, 1963. Edition of 210 published by IGAS. Signed, numbered 188/210, and titled in p...

Russian School signed in Cyrillic lower left, can't identify signature.

Carl Johann Lasch was born in 1822 in Leipzig, Germany. Lasch was known for his historical and genre paintings. He attended the Dresden Academy of Fine Arts where he studied with Edu...

Industrial baker's or boulangerie cart with 2 shelves. Each shelf divided in two in the middle for easy access and use from both sides. All parts are ...

A Japanese three panel folding floor screen framed in Japanese Elmwood each panel encasing a large single Washi paper sheet with natural inclusions from Japan created in the 50's/60s...

Oil on artist panel, signed and dated lower left. It measures 19.75" x 22.75" including the frame, which is likely the original. Benjamin Williams Leader RA (12 March 1831 – 22 March 1923) was an English landscape painter. The inspiration for these early works was the countryside around Worcester itself, "the cottages, farmhouses, lanes, hedgerows and churches, so exceedingly picturesque and beautiful". However, Leader did not finish his course of studies at the R. A, nor did he need to – his paintings proved to be in great demand by wealthy buyers and he achieved an enviable degree of commercial success within only a few years of his first sale. In 1857 he changed his name to Benjamin Williams Leader to distinguish himself from the many other painters with the surname Williams. In autumn of that year he travelled to Scotland, and painted A Quiet pool in Glen Falloch...

Hockney, David. YVES MARIE. S.A.C. 159. Lithograph, 1974. Edition 51 of 75, plus 24 proofs. Printed in New York by William Law, on Rives BFK paper and published by Petersburg Press. ...

Junichiro Sekino (Japanese, 1914-1988). CALMNESS. Color woodblock print, 1954. Edition size not known. Signed in pencil and with the artist's chop. 13 x 17 inches (image), on a large...

Soyer, Raphael. IN STUDIO (Cole 29). Lithograph, 1933. Edition of 25. 15" x 10 1/4." Signed and titled in pencil, and with Soyer's gift inscription "For Margaret Lowengrund" also in...

Browne, George Elmer (American, 1871-1946). THE TRAWLERS. Drypoint, not dated. Edition size not stated. Titled and signed in pencil. In excellent condition.

Semon Bache & Co. New York pair of chased brass matched end tables from New York City. The tables are in excellent vintage condition with chased brass band...

Elegant French carved walnut coffee table, mid-20th century, topped with a rectangular marble slab displaying warm, mottled veining. The apron is finely detailed on all sides with a ...

Beautiful end table composed of 17 Shetland Pony scaled iron horseshoes. The horseshoes were cast at the Saint Croix Forge in Minnesota. The base and gla...

Set of four French walnut midcentury dining chairs with a beautiful fan back design and turned legs, upholstered in a neutral immaculate tufted tapestry...

Corot, Jean-Baptiste-Camille. SOUVENIR D'OSTIE. Delteil 57, Melot 57. Cliche Verre, 1855. Second State of two, with the signature of Corot in reverse, low...

A spectacular antique bronze chandelier depicting harvest of the grapes or wine celebration. Gorgeous sculptural figures surround central column, 8 arms, and magnificent detailing th...

William Thon, although born in New York, painted and lived most of his adult life in coastal Maine. Thon studied at the Arts Student League in New York, and exhibited in the 1930s an...

Abbe, William (American, 1916-1983). EDGARTOWN and MENEMSHA. Two Linocuts, not dated, edition sizes not stated. Signed "ABBE" in the blocks. Each 6 7/8 x 19 7/8 inches (image), 9 3/8...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

Doyle, John L. (American, 1939 - 2010). THE GREAT HUMAN RACE - MERCHANTS AND TRADERS. Fishy Whale Press, Rockford, IL., 1983. Boxed portfolio of 20 lithogra...

19th century portrait of a cabin boy with ship in the distance. Great folky appeal.

Soyer, Raphael. BACKSTAGE. Cole 36. Lithograph, 1935. 15 1/4 x 11 1/2 inches. Editon of about 30. In excellent condition. Rare. Nicely framed

Sloan, John. MAN, WIFE AND CHILD. Morse 135. Etching, 1905. Titled, signed, and inscribed "100 proofs," all in pencil. 5 x 7 inches (plate), 10 x 12 3/4 inches (sheet). Printed on w...

This oil on canvas is signed and date in the upper left and measures 38" x 45.25" including the frame. Sam Uhrdin (Swedish School, 1886-1964). Sam Uhrdi...

Hayter, Stanley William. ONDE VERTE. B/M 290. Soft-ground, etching, and scorper in three colors, 1965. Edition of 50, numbered 25/50 and signed in pencil. Published by Editions Alect...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist. The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...