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Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...

The length of the necklace is 22 inches (56 cm). The size of the smooth, large barrel beads ranges from 22 mm to 37 mm. The color of the beads varies from light beige to saturated br...

Mid-Century Danish Modern Articulating Brass Candelabra Holds 6 tapers

This tiger looks fierce and cute all at the same time! Go Cincinnati Bengals!! By Pampillonia Designs, Inc. 18 karat yellow textured gold body. ...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate 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 Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V 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...

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...

Brutalist style gilt bronze candlestick by Mathias for Fondica France. Very good condition. Dimensions: 7" diameter x 18" H.

Aquamarine ring with natural diamond accents set in solid 14 K gold — serene ocean hues meet timeless sparkle. 1.5cts of ocean-cool aquamarine and diamonds—effortlessly classy, dang...

This beautiful sterling silver purse with chain could also be used as a cigarette holder. The purse is decorated with a flower and swirling ribbon and is in excellent condition. Ther...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Cypresses Reductive color woodcut in colors, black, green & brown, 1982 Unsigned From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arnéra, Vallauris. The set w...

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...

Pair of two vintage English Chippendale / Georgian style dining arm chairs. Made of distressed mahogany featuring a serpentine scalloped crest rail carved along the ear over and int...

14 karat yellow gypsy style ring Oval cabochon blue sapphire approximately 6mm x 4.5mm x 3.5mm, approximately 1.40 carat, set horizontally 6 round diamonds approximately .36 total di...

Elegant 1.4 ct oval aquamarine framed by shimmering natural diamonds in a solid 14k gold setting—classic beauty with luminous charm A 1.4 ct ocean-blue aquamarine with diamond spark...

Victorian bronze and cut glass centerpiece vase. Figural peacocks. Floral raised details. Light scratches on interior glass. Dimensions: 12.75" diameter x 19.5" H.

Portrait of a Seated Woman Oil on canvas, c. 1930 Unsigned Provenance: estate of the Artist by Descent to the Heirs Signed in oil with the artist’s initials “PH...

This beautiful green jadeite necklace completes any look. 36 round jadeite beads approximately 8mm each 52 small, irregular shape pearls approxi...

Pair of heavy cast brass Brutalist style porch or hall lanterns. Hammered finish with amber granite back glass inserts.

Untitled Watercolor on paper. 1971 Unsigned Sheet size: 24 x 19 inches Condition: Excellent From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist...

This is a one-of-a-kind beautiful piece that will complete any outfit! Center approximately 2 carat cabochon lapis bead Lapis is surrounded by ornate 14K yellow gold and tiny grey p...

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longs...

1.6cts blue zircon ring with sparkling natural diamond accents set in solid 14 K gold — timeless elegance with vibrant color. electric blue zircon and diamonds—turning heads without...

Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom painted memorable still lifes...

Derriere Le Miroir-Page 6-7 Color lithograph, 1973 Unsigned (as issued) From: Derriere Le Miroir, No. 201, January 1973 Publisher: Maeght Editeur, Paris Printer: L’Imprimerie Arte, A...

York Road Near Rt. 82 Signed in pencil upper left; signed again green pencil lower right. raphite and colored crayon on paper, mounted to paper c. 1950's Titled by the artist in bla...

Antique Weller jardinière and pedestal pottery, three pieces, Roma style fruit and leaf border, marked Weller, circa 1910s, light overall crazi...

A very early 1st generation rope edge fiberglass arm shell chair with the larger rubber shock mounts having metal washers and a zinc X base and screw on foot pads . The chair still r...

A set of eight solid teak wood framed dining chairs with curved backs for comfort and seats upholstered in a tightly woven cream, darker creams with traces of grays in the weave. Thi...

The necklace is 18 inches (45.7 cm) long, and the smooth round beads are 14 - 15mm in size. The beads, in their natural blue-green, turquoise hue with unique white streaks, are a tes...

Early to mid 20th century table lamp by the Colonial Premier Company of Chicago. Brass trophy urn / oil lamp style base with tulip shaped accents and feet, leading up to a painted co...

Reclining Nude on Bed Lithograph, c. 1910 Signed in pencil lower right and in the plate, lower right Image size: 7-1/4 x 13" Sheet size: 12 1/2 x 19 inches Condition: very good Some aging to the tan paper Provenance: Estate of the Artist Borghi & Company, New York Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

Vintage Chinese export blue and white porcelain tea caddy decanter featuring hand-painted Foo Dog lid and landscape scenes with Immortal / Geisha / Scholar figures. Chinese characte...

Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...

This stunning Steuben boudoir art glass lamp is decorated with gold heart and vines. This lamp has the original Bryant socket. The shade is 8 1/2" diameter and the lamp stands at 13 ...

Lice (Mallards grooming themselves) Drypoint, 1927 Signed and dated lower right (see photo) Titled lower left corner Condition: Excellent Image/Plate size: 6 7/8 x 10 3/4 inches Shee...

Vintage Chinese porcelain lidded ginger jar vase decorated in a blue and white floral 5 toed dragon in the clouds motif. Dimensions: 6.75" x 10.5" (Diameter x Height)

Eames 6 panel oak room divider by Herman Miller. Designed by Charles and Ray Eames and Manufactured by Herman Miller in the 1940's. A durable woven polypropylene mesh connects the 6 ...

The 21st Floor-A View of the World Trade Center in the Skyline Screen print, c. 1990 Signed: Joni Frankel lower left Edition 200 (42/200) Signed lower lef...

Signed, dated, and titled in pencil by the artist Dedicated: "To Jon From Ray" Edition: 100 in two printings A studio proof from the second printing by Jon Clemens, master printe...

Rare vintage Bohemian Junkanoo festival / parade outfit. It features an elaborate headdress with red feathers and gold goddess flames, and includes full body 'shoulder to boots' cos...

This exquisite ring features a stunning 7.55ct oval-shaped London Blue Topaz, measuring 14x10mm, treated by irradiation to enhance its deep, vivid hue. Set in 14k gold (3.08g), the c...

This beautiful pendant features a 9.39 carat London Topaz gemstone with natural earth mined diamonds. This pendant makes a stunning statement piece made in 14k gold that will elevate...

Late 20th century oil painting on canvas showing a nude woman in a yellow wrapper and pearl necklace, reclining on white fur. Signed Cassandra, lower right. Black and white painted w...

Untitled From: Gates to Times Square (20 screenprints, two with additional lithography) Silkscreen, c. 1978 Signed in pencil (see photo) Edition 100 (90/100) (see photo) Publisher: P...

Original oil pastel and gouache figure drawing by celebrated, twentieth-century California landscape painter, Ronald Shap. Vibrant sketch of sitting nude woman with yellow blanket. 2...

El Ultimo viaje del buque fantasma, Plate III Color lithograph, 1976 Signed and numbered in pencil From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Frederick Carl Gottwald (American, 1858-1941) Docked in the Mudflats, c. 1900 Oil on canvas Signed lower left 16 x 20 inches 26 x 30 inches, framed Gottwald, originally from Vienna,...

Natural Watercolor and pigments on Arches paper, 2021 Signed with the artist's initials lower right Signed with the artist's embossed "Yummy" blindstamp lower right An image of the a...

Early to mid 20th century vanity bench / stool. Off white painted cabriole legs; grape purple needlepoint seat embroidered with a bouquet of flowers. French provincial / Queen Anne /...

Festival No. 6 Color woodblock, 2002 Signed, titled and numbered in pencil (see photos) Edition: 50 (10/50), see photo Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Hamanishi Small 98 Condition: Excellent Sheet: 12 1/4 x 9 1/8"; Image 10 1/2 x 7 1/2" Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker...

Antique French Louis XVI style / Neoclassical gold gilt / gesso mirror featuring an elaborate Laurel Wreath crest design with rounded corners. A laurel wreath is a circular or horse...

Glenn Moore Shaw (American, 1891–1981) Terraced Sicily Watercolor Signed lower right 11 in. h. x 16.5 in. w., image 18 in. h. x 23.5 in. w., as framed Glenn Moore Shaw was born in 1...

Vintage Italian Fiorini Klismos side dining chair. Made of solid cherry featuring Biedermeier and Regency styling with sculpted open back, nailhead trim and flared legs. Made in Ita...

This solitaire ring features a 3.59 carat pear shape ruby gemstone with a tapered shank, all set in solid 14K gold. This ring can be a beautiful July birthstone gift for your loved o...

Beautiful pair of antique Chinese wooden couplet wall plaques dating to the late Qing Dynasty. Hand-carved with traditional Chinese gold calligraphy and red lacquer, these panels wer...

America's Daughter Lithograph, 2016 Signed in pencil lower right Edition: Edition: 40 (15/40) From: America's Family (Five Images) Published by: Valley House Gallery and Sculpture ...

Inari Kozo Tasaburo- Kabuki Color woodcut, c. 1820 Signed: ‘Toyokuni’ Publisher: ‘Yamamoto Heikichi’ Censor: Hama and Magome Very good impression and color Sheet/Image size: 15 1/2 x...

Words and Deeds Oil and collage on wood panel, c. 1990 Signed recto lower right (see photo) Verso: See photo Signed, verso: Ben Wilson Dated: c. 1990 Titled: Words and Deeds Condition: Excellent Image/panel size: 23 1/4 x 19 inches Frame size: 26 1/4 x 21 1/4 inches To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his rst one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, lled with what he called “the grief of the intolerable” and reecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identied strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specic imagery persisted but became more psychological and mythic in orientation. Inuenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early gurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, inuenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson lled notebook after notebook with drawings that he amplied in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...