New York

A ladies silver bracelet features a symmetrical design with repeating links, each consisting of a central round light blue stone surrounded by small clear stones. A safety chain is a...

Elegant Bulgari Style Pearl Bangle from the 1990's Italy. Hard wired with 10 mm faux pearls and Bulgari style jeweled caps. Individually priced, choice of emerald or ruby end caps. 1...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Vitis 5 / Chandelier Designed by RBW Designed so that no two installations are exactly alike, Vitis, is a draped modular statement chandelier with customizable possibilities. Its fl...

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A circa 1970 rectangular Laverne coffee table. Measurements: Height: 15.75" Width: 48" Depth: 36"

An exceptional French bronze ormolu mounted turquoise jeweled Sèvres Porcelain clock set by Raingo Fres, Paris, circa 1880. Comprising of a clock in vase form and a pair of five-l...

3882 Antique equestrian with seated rider oil painting on wood panel

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An Italian circa 1900 cast metal statue of Poseidon. Measurements: Height: 27.5" Diameter: 15"

Vitis 5 / Chandelier Designed by RBW Designed so that no two installations are exactly alike, Vitis, is a draped modular statement chandelier with customizable possibilities. Its fl...

5029 Impressionist painting city scape Framed.Image size 12x16" Signed L.M.O'Connell

AllSew / Chandelier Designed by RBW Allsew, our modular, scalable pendant inspired by the luminosity of lanterns, and the lightweight, collapsible efficiency of kites. Made in Uni...

a mid-20th-century whimsical vintage persian accent square rug Details rug no. j4471 size 4' 8" x 5' 10" (142 x 178 cm)

This listing is for 1x Pin Up Sconce in black manufactured by Research.Lighting. It can be used facing up or down. Materials: Brass, Steel & Glass Finish: Black Electronics: 1x G9 S...

An articulating wood figure sculpture piece, circa late-20th century. Used as a tool for learning to draw the human figure since the Renaissance. A fun, adjustable, artist model for ...

This elegant mid-century modernist abstract sculpture by renowned Italian glassmaker Seguso is a masterful work of hand-blown Murano glass design. Dating to circa 1960, the abstract ...

1852ab Oversized galloping horses wall sculpture. The sculpture is made up two seperate sculptures #1 18x15x3,25 inches #2 24x 15x 3,25 inches

Capturing the romantic city of lights, Dietz Edzard celebrated canvases depict the times of his generation, portraying life in all of its glory, although faced with hardship and war....

Charming Jean Desses Pret a Porter Silk Point D'esprit Cocktail Dress from the 1950's. Fitted bodice with boned corset of dotted tulle over taffeta with silk satin banding at bust an...

Anna Wintour Antique Style Lab CZ Diamond Cut Sterling Costume Jewelry Necklace. Anna Wintour has made antique-style diamond and gemstone Rivière Necklaces her trademark. Our Rivièr...

A celebration of floral grace and Italian craftsmanship, this exquisite wall light transforms lighting into a sculptural experience. Inspired by mid-century modern design and the ele...

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An extraordinary natural sculpture, this Uruguayan double amethyst stalactite formation dazzles with its vivid, deep purple crystals and a perfectly positioned, sharply defined white...

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses gold leaf with thick textured oils and glass t...

Scarce 18K yellow gold Angela Cummings snake ring 1986 The snake motif is one of the most loved in jewelry design, symbolizing everlasting love, royalty, wisdom, transformation, reb...

Sexy Donna Karan Draped and Bugle Beaded Gown from the early 2000's. Amazing design represented by 2 asymetrical scarf motifs with bugle beaded accents on bodice. Unusual straps are ...

1920s geometric Antique Small Persian Heriz Runner Details rug no. j4530 size 2'11" x 6'4''

#5-3350 Shoreline Landscape, oil on board displayed in a vintage gilt-wood frame, signed by Lorin .Image size 7 H x 9.50 W

Gorgeous dining table featuring cast aluminum Herman Miller contract base paired with Italian calacatta marble top. Both pieces date to the mid 20th century. The underside of the mar...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by ...

Large Eight Carats Each Lab CZ Diamond Cut Sterling Antique Style Ear Studs Antique Cut Large Eight Carats Each Lab CZ Diamond Studs crafted with our own lab-grown D-grade brillian...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by ...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Syracuse Safe Co. Yale Steel Combination Lock Safe with Painted Scene c1890 (29" x 18 1/8" x 19 1/2")...

Etching and drypoint on watermarked Hudelist laid paper, 9 5/8 x 5 inches (245 x 129mm) full margins. Second state (of five) after lettering. A superb condition with a pencil inscrip...

Fantastic simple and elegant Art Glass Vase Open Minds cat face design for Kosta Boda by Ulrica Hydman-Vallien . This is a medium sized version of the vase, stands at 6.25 inches t...

A large Japanese covered Totai enamel on porcelain ginger jar. The ware is enamelled with polychrome floral and foliage ornaments made in the Cloisonne technique. The cover of the wa...

Australian Opal Shell Pendant Australian Opal, Emerald, 14k Gold Carved Australian Opal, 20mm diameter with center 6x5mm emerald. The thick gold ring bail can accommodate a chain...

Set of 6 chairs, green painted seats Green, fixed seat with springs in need of recovering as they have original materials. seat height 19 in. Painting has chips and scrapes but in...

This wall hanging is a one of a kind heirloom piece, inspired by brutalism, and Joseph Albers studies on the interactions of colors. The entire process of creating this wall hanging...

This Seymchan pallasite meteorite slice is a true natural masterpiece, showcasing a dazzling array of golden-hued Olivine crystals suspended in a lustrous iron-nickel matrix. Careful...

Pair of Mid century Brazilian modern Michel Arnoult Peg-Lev leather sling with Brazilian wood Safari Sling Lounge Chairs. Brazilian Modern jacaranda hardwood frame safari sling chair...

John Baldessari's Paradise is a thought-provoking piece that plays with the concept of utopia and the viewer’s expectations of imagery. Known for his witty and conceptual approach, B...

This exquisite pair of Art Deco club chairs exemplifies the understated luxury and minimalist elegance synonymous with the iconic work of Jean-Michel Frank. Crafted in France during ...

Hand-knotted in wool, this 5x7 modern tiger pictorial rug features a vibrant colorway of burnt orange, blue and black tones. On the Design: Hand-knotted in wool pile, a 5x7 conte...

Large, Attractive Pave Maltese Cross Brooch with faux onyx cabochons from the 1990's. Lovely quality with pave crystal rhinestones. Signed Maresco...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a soft Pink background with thick use of paint. It ...

Bulgari Parentesi Necklace Choker The necklace is 18k Yellow Gold The necklace is 3/8" wide. The necklace weighs 137 grams The necklace is 15" length Comes with original pouch and ba...

Fantastic pair of cast iron benches in the Art Noveau Style, high quality iron castings perfectly fitted to each other and freshly hand painted with Rustoleum hunter green gloss. Ver...

Greek Key Rattan Mirror. Vintage rattan framed mirror in Greek key style. Italy, Mid-20th century Dimensions: 31.75" H x 24" W x .75" D

An exceptional circa 1805 Irish late George III neoclassical hall bench of solid mahogany construction, the rectangular seat with satinwood and ebony 'zigzag' border inlay above flat...

Classic Cartier Love Bracelet 4 Diamonds The bracelet is 18K White Gold There are about 0.42 Carats in Diamonds F VS The bracelet is a size 17cm The bracelet weighs 29.3 grams The se...

Elegant French Faux Pearl and Ruby Clasp Bracelet from the 1950's. 3 strand faux pearls with large ruby paste and crystal clasp. Hand knotted and bullioned like fine jewelry. 1950's...

A pair of Italian 1950's gilt sconces with painted flowers. Measurements: Height: 16" Width: 8.5" Depth: 3.5"

Elegant Madame Gres Anthracite Silk Crepe Ensemble from the 1970's. Simple ensemble with underdress and top. Top slips over head with button at neck and open sides. Easy bateau neckl...

Simply Beautiful! Featuring 5 Cascading Rows of Crystal Gold Tone Multi Layer Crystal Pendants Necklaces. All in one Necklace! Hand crafted in Gold tone mounting. More Beautiful in r...

A large Mid-20th Century oil painting depicting a beautiful landscape on a sunny day of the Village Provençal in France. This piece has a strong presence with bold brushwork and heav...

This striking vintage poster, titled Verticality, is a classic example of Elba Alvarez's distinctive style that gained her prominence as one of the top artists of the 1990s. Known fo...

A pair of Japanese cloisonne enameled brass vases. They feature a narrow neck, rounded body, and are decorated with an intricate pattern of floral designs in various colors, and gilt...