Ohio

This Bleached Oak Quadrant Coffee Table is made in the heart of Ohio with locally sourced wood. Each table is hand-made from white oak veneer (poplar core) and finished with a beauti...

This Large Christopher Table in Bleached Oak is made in the heart of Ohio with locally sourced wood. We use the table both as a modern dining table or desk. Each table is hand-made w...

18th Century Italian Carved Neoclassical Semi Nude Female Busts Wood affixed to wood plinths "Leone Della Torra / Italy Country of Origin" labels on b...

Blue Ruthms (Agerup 188) after the 1966 painting, Peinture. Etching with aquatint, 1968 Signed, dated and numbered in pencil (see photos) Edition: 95 (74/95) Plate: 17 1/2 x 21 1/2" ...

Based on their design and the historical context of similar apothecary jars, these French apothecary jars likely date from the late 19th century to the early 20th century. During thi...

Please scroll down to read IMPORTANT INSTRUCTIONS ABOUT OUR STUMPS before purchase! Why buy our stumps? KILN DRIED Our stumps all go through a drying process in our kiln, sometimes for up to a month. We are meticulous with bringing each and every log to a specific moisture level. This process helps with major cracking, long-term moisture issues, and bugs. ECO FRIENDLY In an effort to replenish the trees we use, we plant 50+ trees a year. In addition, we practice salvage logging. Where do we source these? Some of the trees fall naturally. Some have damage from severe wind, lightning, flood, disease, or other natural disturbance so they need to be cut and removed before they fall. Others are fresh cut because people want them off their land. Salvage logging may reduce erosion, reduce intensity of future wildfires, and slow buildup of pest insects. FAMILY OWNED These are made from our family to yours. Quality is of utmost importance, and we hand cut, de-bark, sand, and finish every piece with care. COMMERCIAL GRADE These stumps are meant to be loved and USED. Each is finished with a durable commercial-grade finish. This finish is tough enough for spills, kids, and holds up in hotel and hospitality settings. This listing is for a pair of large tree stump side tables...

Scandinavian minimalism and luxurious texture come together in this six-legged modern daybed. The white-oak base is comprised of a rounded-edg...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Clarence Holbrook Carter (American, 1904-2000) Terror of History No. 1, 1962 Acrylic and sand on scintilla Signed and dated upper left 23 x 30 inches See photos for condition. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Untitled Color lithograph, 1959 Unsigned (as issued) From: Derriere Le Miroir, No. 113, 1959 Publisher: Editions Pierre a Feu Editor: A. Maeght Small edition as it appeared in the ma...

A sculptural bentwood Pretzel chair # 5890 with elegant, curved arms having a dark chocolate brown leather seat. Designed by George Nelson for Herman Miller in the early 1950's and p...

Building and Garden Elements > Patio and Garden Furniture These Suelo® outdoor dining chairs in black are beautifully constructed from solid wood...

Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...

The White Scarf (Self Portrait of the Artist) Oil on board, 1894 Signed and dated lower left: E M Heller '94 (see image) Framed in a metal leaf Whistler style frame, Frame: 23 x 18-...

Vintage Faux Tortoiseshell case from Henredon. Beautiful piece with minimal signs of use. Spectacular original finish with an Asian influence through the legs and brass hardware. One...

This beautiful ring features a 1.84 carat Colombian Emerald gemstone with milgrain details and natural earth mined diamonds, all set in solid 14K gold. This ring makes a lovely May b...

Vintage Maison Jensen style table lamp featuring swirling oxblood red / amber Bakelite and gilded brass neoclassical / Grecian column shaped table lamp. Dimensions: 3.5" x 3.5" x 1...

This exceptional lamp by Bradley & Hubbard is dated 1908. The heavy brass base has 4 Bryant sockets with acorn pulls. The base is signed on the underside. There are no breaks in the ...

Bertu Side Table, Natural Wood Side Table, the Roma, Maple Bertu Side Table, Natural Wood Side Table, the Roma, Maple Please scroll down to read important instructions about our st...

Joseph Glasco (American, 1925-1996) Reclining Figure, facing right (Nikos) 1971 India ink on paper Signed and dated middle right 26 x 38.25 inches In original frame. Joseph Glasco ...

Bertu Wood End Table, Solid Wood End Table, Maple Please scroll down to read IMPORTANT INSTRUCTIONS ABOUT OUR STUMPS before purchase! Why buy BERTU stumps? KILN DRIED Our stumps all go through a drying process in our kiln, sometimes for up to a month. We are meticulous with bringing each and every log to a specific moisture level. This process helps with major cracking, long-term moisture issues, and bugs. ECO FRIENDLY In an effort to replenish the trees we use, we plant 50+ trees a year. In addition, we practice salvage logging. Where do we source these? Some of the trees fall naturally. Some have damage from severe wind, lightning, flood, disease, or other natural disturbance so they need to be cut and removed before they fall. Others are fresh cut because people want them off their land. Salvage logging may reduce erosion, reduce intensity of future wildfires, and slow buildup of pest insects. FAMILY OWNED These are made from our family to yours. Quality is of utmost importance, and we hand cut, de-bark, sand, and finish every piece with care.See how we do it here. COMMERCIAL GRADE These stumps are meant to be loved and USED. Each is finished with a durable commercial-grade finish. This finish is tough enough for spills, kids, and holds up in hotel and hospitality settings. These Solid Wood End Tables...

A timeless beauty, this Padparadscha Sapphire ring features a rare peach-pink center stone, surrounded by a halo of natural, earth-mined diamonds. Set in solid 14k gold, the band spa...

Vintage Chinese Porcelain Wall Art Plaque Framed and Signed. circa 20th century. Two birds looking down at a nest of fledglings in a tree. The tree ...

CraftAssociates Dining Chairs, Gordon Modern Walnut Dining Chairs, Leather Modern dining chairs, 1901 for Craft Associates Furniture are expertly handcrafted. Each chair base is con...

Annual Edition, 1994 Screen print, 1994 Signed and dated in pencil by the artist. Small edition Dedicated in pencil by the artist "For Bart and Ann" Created as a gift to the artist'...

Joan Miro "The Singing Fish" Lithograph, 1972. Signed lower right, and marked H.C. lower left in pencil. Image size 14" x 17". The Singing Fish uses colors of blue, green, yellow and...

designer: Lawrence Peabody Manufacturer: Craft Associates® Furniture Period/Model: Mid Century Modern Specs: Oak, Brass dimensions H: 30.5" (77.47cm) L: 42.75" (108.59...

Designed by Walter Dorwin Teague and Edwin W. Fuerst for the State Dinning Room for the 1939 New York World's Fair. The fluted stem design was inspirated by the columns of the Federa...

14 Karat Gold Leaf Brooch featuring 5 oval jadeite stones. The brooch has a 5 petal leaf shape with each stone set in the middle of each petal. Hallmark along backside. Dimensions...

From Baker Furniture Stately Homes Collection. Monumental Empire Revival Scrolled Arm Sofa.

Maker: Bitossi. Importer: Rosenthal Netter Period or model: Mid-Century Modern. Specs: Pottery Condition: This Bitossi Italian pottery...

By designer Simon G this gorgeous ring will be the highlight of your outfit! 18 karat yellow gold stunning wide fashion ring with glimmering white diamonds set within repeating round...

This outstanding hand painted 19th century French ceramic charger was made by Hautin Boulenger & Cie at Creil & Montereau. The highly detailed Aesthetic Movement charger features polychrome decoration depicting a Japanese quail perched in a flowering cherry tree bearing vivid green foliage. The bird's gaze is fixed on a colorful butterfly with intricately patterned wings which is located off to one side. The image is set on a gilt ground which bears a series of repeating raised gilt motifs. The charger's shoulder is finished in cobalt blue with stylized gilt hearts separated by light blue floral and foliate elements. The 4lb 11oz charger bears an impressed mark used by Creil et Montereau between 1876-1884. The foot rim is not pierced. This beautifully executed hand painted French charger...

This glazed ceramic pitcher was made by noted Hungarian-born studio potter Eugene Deutch (1904-1959). Deutch studied under modernist sculptor Constantin Brancusi in Paris before emig...

A wonderful pair of Art Deco theatre wall sconces, circa 1920s. Impressive in size and form these light fixtures have bent stained glass with a flo...

untitled (Shoeing the Mule, Charleston, South Carolina) Etching, c. 1930 Signed by the artist in pencil lower right (see photo) Condition: Excellent Image/plate size: 8 x 10 inches S...

Bertu Dining Chair, Dunes Outdoor Dining Chair This Modern Patio Furniture - The Dunes Outdoor Dining Chair is beautifully constructed from soli...

Clarence Holbrook Carter (American, 1904-2000) Cicada, c. 1960s Watercolor on scintilla 30 x 20 inches Clarence Holbrook Carter achieved a level of national artistic success that wa...

Markus Pierson's work includes a vast array of paintings, drawings, sculpture, hand-pulled serigraphs and original found-object works. Framed Whimsical Markus Pierson print. Editio...

Fantastic lamps by Daum Nancy with 18" shades. The unique yellow/amber color is highlighted in the art deco design cameo glass shade and base, and is stunning when lit. Both the top ...

CraftAssociates Sofa, Peabody Danish Modern Sofa, Walnut, Slatted This Lawrence Peabody Danish Sofa P-1713 for Craft Associates Furniture is expertly handcrafted and upholstered. T...

A striking 1.8Ct blue sapphire shines at the center of a radiant natural diamond halo, crafted in solid 14K gold. The elegant 8x5mm silhouette brings timeless glamour with a modern r...

Stunning details offered in this credenza, which would be perfect for a foyer or your main entrance to welcome guests and offer a place for them to set their belongs down. This Blonde Credenza...

Modern Upholstered Dining Chairs, Barricas, Oak These Modern Upholstered Dining Chairs are part of the "Barricas Series" for Craft As...

Designer: Lawrence Peabody Manufacturer: Craft Associates Furniture Period/Model: Mid-Century Modern Specs: Teak This Lawrence Peabody modern bookcase cabinet for Craft Associates Furniture is expertly hand crafted. The Peabody collection pieces are licensed reintroductions for Craft Associates. This bookcase cabinet is solid black walnut and Claro walnut veneer. It is available in multiple variations (all walnut / black or normal sliding door / brass or black pulls). Craft Associates Furniture is proud each modern piece is made in the US. We strive to craft a product that will stand the test of time. We use the best materials and have the best craftsman and upholstery in the business. We stand 100% behind our product. Dimensions: H 49" (124.46cm) L 58.875" (149.54cm) D 14.5" (36.83cm) Drawer interiors 8" width (20.32cm) x 12" depth (30.48cm) History Lawrence “Larry” Peabody (1924-2002) was an architect, interior designer, and furniture designer. As an American born in Haverhill, Massachusetts, his distinctive design were often influenced by his Scandinavian roots. Lawrence studied at the Royal Academy of Fine Arts in Copenhagen, Denmark and at the Rhode Island School of Design. His early career with Selig Mfg. Co. was prolific and helped put both himself and Selig on the map for modern furniture. He then started Lawrence Peabody & Associates in 1955, a design firm in Boston which included a vast client list (Sears, Roebuck & Co., Kohler, Regal Rugs, Boyd Lighting, Chapman Lamps, and Richardson Brothers). In 1961, Mr. Peabody won a Citation for Merit for his Peabody Collection for Richardson/ Nemschoff. Winner of the 1962 International A.I.D. design award for his wood frame rattan cradle...

Unknown Artist, Thailand, 19th century Miniatures with Text from the "Legend of Phra Malai" Double folio; ink, color and gold leaf, c. 1900 Unsigned Script: Khmer (Cambodian) These texts are written in Khom script, a variant of Khmer script often used in Central Thai religious manuscripts. Paired devas (lesser gods) on throne-like plinths addorse Khmer (Cambodian) script containing tales of Phra Malai, a Sri Lankan arhat or Buddhist saint known for his travels to hell. There, the compassionate monk gave teachings and comfort to sufferers. Phra Malai stories taught the karmic effects of human actions to the faithful as well as conveying Maitreya's message of hope for attaining nirvana. Though known in neighboring countries, the stories of Phra Malai achieved their greatest popularity and influence in Siam (present day Thailand) Condition: Very good Sight window) size: 11-1/8 x 27 inches Frame size: 19-5/8 x 34-7/8 x 3/4 inches The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in this 19th-century Thai samut khoi (folding book) held in the Thai, Lao, and Cambodian Collections of the British Library. Phra Malai figures prominently in Thai art...

Horses in a Stable Black chalk on tan wove paper, 1896 Signed with the estate stamp lower right corner (see photo) Note: The image has been sqaured off in red chalk grid lines for use in a large painting Dated in charcoal lower right: "23 Nov '96" Condition: Tack holes in the corners small tears and creases along margins Sheet size: 14 11/16 x 16 13/16 inches Provenance: Dr. Ernst Hauswedell Brenner Fine Arts, Inc., New York Alan Stone Gallery, New York "Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced – recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group’s rebirth as the Libre Esthétique, Lemmen’s work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen’s travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new ‘free’ aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l’Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen’s reputation. Museum and Gallery Holdings Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children’s Room (watercolour); Reading; Couture; Young Girl by the Sea...

This Modern Nightstand in White Oak is made in the heart of Ohio with locally sourced wood. Each piece is hand-made with solid white oak and f...

This is an easy everyday bracelet stands out on it's own or can be stacked. 18 karat white gold. Double row of gold wire wrapped in sections. 30 roun...

Designer: Børge Mogensen. Manufacturer: Fredericia Stolefabrik. Period or model: Mid-Century Modern. Specs: Wood, leather. Condition: This Børge Mogensen sofa...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

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...

Antique Victorian converted hurricane oil lamp / swag pendant light / chandelier. Made of brass featuring a scrolled Neoclassical ribbon / horn / wreath motif along with pierced flo...

This Modern Walnut Credenza from the Cali Collection is made in the heart of Ohio with locally sourced wood. Each unit is handmade with solid black wal...

Modern walnut dresser - 2004 - Craft Associates Furniture This modern walnut dresser from the Cambre Collection for Craft Associates Furniture is expertly crafted. The legs and do...

Reve de Cirque (Circus Dream) Color lithograph, 1966 Unsigned (as issued) Pubished in XXe Siecle, Paris, Volume XXVI Publisher: Gualtieri di San Lazzaro (1904-1974). Printer: Mourlo...

Bertu Ottomans, Cicely Modern Wood Ottoman, Leather, White This White Wood and Leather Ottoman - The Cicely is beautifully constructed from s...

A special order upholstered tulip arm chair with nice curved back and supportive bottom seat cushion . This is a very comfortable chair for hours of relaxing at home or in the office...

Signed with the artist's initials lower right Watercolor on Twinrocker heavy weight paper

Just a great piece. Very rare to find. Incredible inlaid drop down front, mirrored interior with two drawers below. Nearly Impossible to replicate this piece. Remarkable original vin...