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Known from the James Bond movie "On Her Majesty's Secret Service", De Sede high quality leather lounge armchair DS 101. This rare chair model ceased production ...

An exceptionally stunning swiveling lounge chair with molded walnut frame having woven upholstery in the style of Danish modern design. This rare hard to find chair is extremely comf...

Designer Getana & Co. This ring is a gorgeous light blue apatite slice with a diamond halo. This ring practically glows. Oval-ish apatite approximately 20...

Life's a Beach Screen print, 1980's Signed lower right (see photo) Mr. Holch’s formal art training began at Trinity-Pawling School where he won their first annual art award. He conti...

Trees in the Field Mixed meia on masonite panel, 1967 Signed on the right edge oif the image (see photo) One from a series of similar examples, all with caligraphic trees and figures surrounding the composition. Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Condition: Excellent Image size: 12 5/8 x 10 inches Board size: 20 x 16 inches Frame size: 21 x 17 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. Sq. 8vo, stapled tan wraps, lettered in brown, illus. of wire sculpture by James Denmark.. BOSTON (MA). Museum of the National Center of Afro-American Artists. Afro-American Artists: New York and Boston. May 19-June 23, 1970. 92 pp. exhib. cat, 67 b&w illus. of work by 69 artists, exhib. checklist. Intro. by Edmund B. Gaither. Important early exhibition. Includes Emma Amos, Benny Andrews, Ellsworth Ausby, Malcolm Bailey, Ellen Banks, Romare Bearden, Robert Blackburn, Betty Blayton, Ronald Boutte, Lynn Bowers, Frank Bowling, Marvin Brown, Calvin Burnett, Dana C. Chandler, John Chandler, Barbara Chase-Riboud, Ed Clark, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Henry DeLeon, Stanley Pinckney, James Denmark, Reginald Gammon, Felrath Hines, Alvin C. Hollingsworth, Bill Howell, Zell Ingram, Gerald Jackson, Daniel L. Johnson, Milton Johnson, Ben Jones, Lois Mailou Jones, Tonnie O. Jones, Cliff Joseph, Harriet Kennedy, Hughie Lee-Smith, Norman Lewis, Tom Lloyd, Al Loving, Richard Mayhew, Edward McCluney, Jr., Algernon Miller, Joe Overstreet, Louise Parks, Stanley Pinckney, Jerry Pinkney, John W. Rhoden, Bill Rivers, Mahler Ryder, Raymond Saunders, Thomas Sills, Al Smith, Vincent D. Smith, Richard Stroud, Alma Thomas, Bob Thompson, Lovett Thompson, Russ Thompson, Lloyd Toone, Luther Vann, Paul Waters...

5 Vintage Jacobean style Dining Chairs by Bernhardt Furniture, circa 1930-40s. Features a carved crest rail over a pierced diamond linen fold splat. The chairs are upholstered in a ...

Vintage figural horse bronze table lamp by Maitland Smith featuring a mare and foal in tableau on a charcoal black marble clad base. Includes hard and rectangular tooled / gilded lea...

Happy Ray Day! For 1 week, from April 19th, 2017, all Ray H. French works of art on paper will be discounted 19% and 1 lucky random patron will receive a second FREE! Embossed relief print on heavy paper Signed, dated, titled and numbered Edition: 10 (10/10) Provenance: Estate of the artist References And Exhibitions: This work predates Josef Albers serigraph...

The length of the necklace is 18 inches (45.7 cm). The rare size of the smooth round beads is 20 mm. The color of the beads is a soft, pale, peachy pink. Very gentle, soft pastel colors! Huge statement...

Antique Art Nouveau Tantalus decanter set featuring six shot glasses and an embossed lockable metal case with handle. The case and decanter are etched / embossed with acanthus leave...

Two antique green ribbed glass student kerosine oil lamp shades with brass supports. Dimensions: 10.5" x 6" (D x H)

Late 20th Century Chinoiserie folding screen or room divider. Made from bamboo with rattan inserts and a spindled center. Dimensions: Each panel 96" x 19" x 1 3/4", open length a...

The length of the necklace is 20.5 inches (52 cm). The size of the beads varies from 14 mm to 18 mm. The color of the beads is a mix of various shades of green, light green, dark green, and yellow. The color is authentic and natural. No thermal or other mechanical treatments were used. This necklace alternates beads of serpentine with 17 mm old Nepal silver...

Bertu Dining Table, Modern Round Dining Table, Dining Table, Maple, Cava This Cava Modern Round Dining Table in Maple is made in the heart of Ohio with locally sourced wood. We use ...

CraftAssociates Sideboard, Eiger Modern Walnut Sideboard Modern Credenza - Craft Associates® Furniture is expertly crafted. The base is constructed by hand from hard wood and not ma...

This Modern 6 Foot Walnut Dresser is made in the heart of Ohio with locally sourced wood. Each dresser is hand-made with solid walnut and finished with a beautiful matte commercial g...

Refurbished single caned Cesca Chair in black. The cane back and bottom were sanded then painted in black as the original gloss was wearing down and needed a full refinishing job. No...

Paul Riba (American 1912-1977) Dutch Farmyard, Pennsylvania Tempera on board Signed lower right 9.75 x 14 inches 12.75 x 16.75 inches, framed Provenance: The Estate of Mary Clark Roc...

Early to mid 20th century oil on board painting by Gustave Gutgemon. Impressionist landscape depicting the forested edge of a lake surrounded by hills, with a sailboat floating in th...

18th Century French School Portrait of an Actress Oil on canvas 30 x 23 inches 36 x 30 inches, framed

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Antique Chinoiserie side dining, scholars, or vanity chair. Made of ebonized Rosewood featuring highly ornate gothic inspired carvings with dragons, bats, squirrels, flowers, nuts, b...

The necklace is 18.5 inches (47 cm) long. The rare size of the smooth round beads is 15 mm. The beads are rare, of excellent quality, and a unique color. They have delightfully brown...

Andy Warhol Factory portrait taken in 1968 by master photographer and printer Philippe Halsman (1906- 1979) and in 1989 an edition of 100 portfolio...

Vintage 1998 Betty Anglin Smith original oil painting on canvas titled Ashepoo Marshland. A vibrant landscape featuring a low-lying, waterlogged wetland dominated by grasses, reeds,...

This beautiful Maitland Smith apothecary cabinet with 34 drawers is wrapped in tooled leather. The drawers fronts are made from burled walnut and are adorned with copper tone pulls i...

The length of the necklace is 18 inches (45.7 cm). The rare size of the smooth round beads is 20 mm. The tones of the beads are a wondrous golden brown, caramel gold, and silky, gorgeous, warm shades. Their tones are a symphony of the earth. The color is authentic, a gift from nature herself—no thermal or mechanical hand has altered its true soul. The tiger eye...

Beautiful statement piece Tiffany Studios lamp with a large 18" diameter shade and 23" tall base. The 18" leaded glass shade in the swirling leaf design is larger than the more commo...

1980s Hollywood Regency style wall hanging mirror. Features a scrolling foliate carved frame with beveled glass. Dimensions: 31.5" x 43.5" x 2.25" (L x W x H)

A sophisticated Mid Century Modern brass table lamp with large box shade making this quite the statement piece in any room setting. Polished with matching base this exceptional lamp ...

This Ithaca Platform Bed in Rustic White Oak is made in the heart of Ohio with locally sourced wood. Each is hand-made from solid rustic white oak (or the wood of your choice) and fi...

This Modern Cicely Counter Stool with Sheepskin Seat is beautifully constructed from solid walnut in Ohio, USA. This stool was style-spotted at the Spring 2022 High Point Market. The...

Mid Century Mersman matchbook mahogany pie crust pedestal table featuring a serpentine gallery top supported by fluted columns and flared Duncan Phyfe style legs with brass caps. Di...

Chinese bronze bell with dragon form relief handle and a body decorated with two dragons chasing a pearl. Dimensions 9" T x 7" diameter.

Early 20th century Indonesian / Indian country / farmhouse / colonial bench seat or settee. Made of teak featuring ladderback design with carved floral acanthus paneled back and Jim...

Beautiful Milo Baughman credenza for Thayer Coggin with burl wood patchwork square tiles design. This 3-door cabinet features 4 drawers, an adjustable shelf, and sits on a chrome fin...

Large 3-tier walnut etagere open shelving unit by Theodore Alexander. The piece features cane shelves with glass on top, turned spindle legs, 4 dovetailed drawers with burlwood inte...

Exceptional Scene Two Bar Cabinet from Henredon. Arguably the most recognized and sought after of Henredon's vintage collections, the Scene Two pieces from the Legendary maker are so...

Late 20th century heavy Greek Corinithian column shaped table lamp with green marble base and brass body styled after an ionic reeded column between square plinths. Includes harp, wh...

Perfect for a meaningful gift or engagement, this three-stone ring features a rare 0.46ct oval alexandrite between two natural diamonds. Crafted in solid 14K rose gold, it symbolizes...

Vintage pair of two Maitland Smith dumbwaiter butler display tables / stands. Made of flamed mahogany featuring English / Georgian / Duncan Phyfe styling with three tiers, pedestal ...

Rare mid century, circa 1950s, combination floor lamp and end table by Frederick Cooper - triangular pedestal base with turned legs and clover shaped top, with single light lamp supp...

Erhardsen and Andersen, "Siesta" chair with ottoman. 20th century. Black leather tufted armchair on chrome base with matching ottoman. Unlabeled...

This plush shearling fur pillow is made in the heart of Ohio with a lot of love. The pillows are completely reversible and double sided with a down fill. The down pillow form itself ...

A Mid Century loveseat upholstered in a Jack Lenor Larsen styled fabric known for its unique designs and colors. This well-crafted loveseat was manufactured in the manner of the Henr...

Unique, one-of-a-kind, antique necklace, Amulet necklace. The Mughal (or Mogul) Empire ruled most of India and Pakistan in the 16th and 18th centuries. It consolidated Islam in South Asia and spread Muslim (and particularly Persian) arts and culture as well as the faith. Rare 18th C. Mogul Indian Rock Crystal Ram Head. This amulet was probably made for a necklace worn by one of the Kushite kings. Representations show these pharaohs wearing a ram's head amulet tied around the neck on a thick cord, the ends of which fall forward over the shoulders. Sometimes, a smaller ram's head is attached to each end. Rams were associated with the god Amun, particularly in Nubia, where he was especially revered. The ram's head is carved from smooth rock crystal. The carved quality is very high. Dimensions: 41.5mm long and 25mm wide. The ram head amulet is a symbol of perseverance, vitality, and sexual energy. The ram personifies generative power, creative energy and is also a spirit that protects its owner. The length of the necklace is 32 inches (81 cm). The size of the vintage rice garnet beads is approx 6.5 - 7.5 mm, the size of the tiny round garnet beads is approx 2.5 mm. The size of the matte rock crystal beads is 16mm. The necklace is fastened with an old silver clasp. The weight of the necklace is 100 grams. The garnet necklace was most likely made later, around the end of the 19th century. This is evidenced by the clasp, the silk thread, and the way the garnet beads were cut, carved, and drilled by hand. As we wrote above, the head of a ram made of rock crystal is from the 17th-18th centuries. Unique, one-of-a-kind, antique amulet...

This fabulous bronze peacock was made at Franz Bergman's Vienna foundry and bears the name of sculptor Bruno Zach. The highly detailed sculpture is beautifully cast and features cold painted polychrome decoration. The peacock's crested head is turned slightly to the left and its magnificent fanned tail feathers - also known as a train - are realistically rendered and arch forward as they rise. The train has splayed feathers at both ends that rest flat on the display surface, preventing instability. The feathers have been finished with white shafts and greenish-gold vanes while the ornamental black eyespots are accented with metallic rose and copper colored paint. It should be noted that the back of the bird's train is also highly detailed lending visual interest if viewed from the front or the rear. The peacock's head and body are painted in a silvery color while the painted decoration on the head includes large white masks and black eyes that are ringed in orange. The bird's angled beak is finished in yellow and has well defined upper and lower sections. The peacock's wings are positioned parallel to its body and extend back beyond the train. The outside of each wing is accented in mottled copper and black paint while the rear portions bear a series of painted copper and black stripes. The bird's thin legs are finished in gray and have black spurs at the back. Its long toes terminate in sharp black talons. The peacock is in very good condition with no replacements or repairs. As an antique, the piece shows signs of age including minor areas of paint loss that are noted for accuracy. It stands 8" at the tallest point of the train and is 11.5" as measured across the widest points of the train. The piece is 3.25" at its deepest point. The back of the train bears a partially legible Bergman amphora-shaped foundry mark with a B at the center. It is also signed 'Zach' in cast at the underside of one section of tail feathers for sculptor Bruno Zach who had a history of collaborating with Bergman to edit and cast some of his works. The peacock weighs 3lbs 2oz. This lovely antique Vienna Bronze peacock sculpture...

Late 18th Century Antique English Georgian pewter porringer soup or stew bowl, dish or cup with crown handle / ear by William Wright of Little Minorie...

Elizabeth Locke 19 karat yellow gold Oval labradorite approximately 18mm x 10mm Two south sea black pearls, approximately 9.5-10.0mm Six round blue sapphires, approximately 2.5mm each Double pin hinged clasp with safety Can be worn horizontal or vertical Stamped with Elizabeth Locke jewelers mark...

Gorgeous Vintage Chesterfield Sofa with Deep Button Tufts, Rolled arms and Brass Casters. Finished in a Cognac leather. Unsigned, believed to be Ralph Lauren.

1970s Vintage Venetian style mirror. Features a beveled frame with cut glass accents. Great for use over a mantel, as a vanity or along a wall. Dimensions: 61" x 45" x 3.5"

Please scroll down to read IMPORTANT INSTRUCTIONS ABOUT OUR STUMPS before purchase! Why buy BERTU HOME stumps? KILN DRIED Our stumps all go through a drying process in our kiln, s...

Massive 1930s / 1940s Persian Sarouk area rug or carpet. Made of cotton and wool featuring a vibrant red field with florals all over. 196 knots per square inch. Reds, blues, pinks...

A natural wicker arched mirror, circa last quarter of the 20th century. Features a braided wicker frame and mirrored plate glass. Dimensions: 26" x 42.5"h

These exceptional Madagascar brown opal beads — often referred to as “chocolate opals” — are a true celebration of earthy elegance. Their rich, natural palette ranges from deep coffee and warm caramel to soft beige, taupe, and smoky gray, creating a captivating harmony of tones. Unlike precious opals, this variety does not display flash or iridescence. Instead, it is prized for its velvety body color and organic, grounding presence. The beads are of outstanding quality, beautifully polished to enhance their natural luster while preserving the integrity of the stone. Each substantial bead measures approximately 20 mm, giving the necklace a bold and sculptural presence. In natural light, the tones shift subtly, revealing caramel-gray nuances that make the piece especially dynamic. The opal beads alternate with impressive 17 mm antique Nepalese silver beads, adding texture, cultural character, and refined contrast. The necklace is completed with a distinctive silver toggle clasp that complements the design. Length: 18 inches (45.7 cm) Bead diameter: approximately 20 mm Silver accent beads: 17 mm antique Nepal silver...

This beautiful jade piece will be a favorite!  Pear shape carved jade pendant with decorative 14 karat yellow gold top. Overall pendant is approximately 44mm long x 21mm wide. Decorative top has two round prong set diamonds...

Mid-Century Modern 6 Drawer dresser in the "Sun Coast Collection" for Drexel Furniture designed by Kipp Stewart. Circa 1959. Cherry, sits on a ...

Antique lot includes creamer, demitasse cup, and two bone dishes by Dresden, one demitasse cup by Meissen, and one candlestick by Klemm. Dimensions: Creamer - 3.5" x 3.25" / Demitas...

Large antique late 19th English Victorian reclaimed oak hutch. Features an arcaded front with partial turned and carved columns set around birdseye maple back panelling and 'C' scro...

Antique hand knotted Persian rug featuring a field of reds and blues with ornaments, trophy urns or vases, various birds and floral a...