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The case is metal and is finished in Aged Ironstone with burnished gold accents. The matching pendulum bob is clearly visible in this open case design. Beautifully designed iron wor...

Eight teak frame upholstered dining chairs by Widdicomb designed by T.H. Rbsjohn & Gibbings. Six upholstered alike two coordinating fabric chairs. Can use cleaning or new upholstery....

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...

Pair of Late 20th Century Organic Modern Sculptural Palm Tree Planters. Made from large palm trees trunks that have been hollowed out for use as a planter, vase, flower pot or sculp...

This oil painting by Richard Matthews is titled "Billiards Table Corner." Richard Matthews is an American artist from the 20th century. This painting features 3 solid and two striped...

Temple of Isis Philae (verso) Dpouoble sided watercolor, 1902 Signed on front lower left: "Henry Bacon" and dated 1902 Note: The Temple of Isis is located on the Island of Philae at ...

A striking 1.63ct oval tsavorite garnet from Tanzania takes center stage in this elegant 9x7mm design. Its vivid green hue is beautifully complemented by 28 natural diamonds (0.44ctt...

Late 20th Century Artisanal square coffee table exhibits classic elements of the American Arts and Crafts movement, focusing on structural honesty and the natural beauty of the wood....

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Antique Victorian Cheval Dressing Mirror. Made from mahogany with a wishbone stand featuring New York Ball & Claw Feet. The oval mirror mounts via two ornate brass bolts. On ca...

Walnut mid-century modern 6-drawer chest of drawers with diamond pattern inlaid drawer fronts and sculpted legs. Great condition. Part of a 4-piece set. 44" tall x 37" wide x 18 1/2"...

Berenice Color woodcut, 1900-1910 Signed with the artist's red ink stamp (see photo) Edition: 50 (46/50) Signed with the artist's red ink initials stamp, Lugt 1771, Sup. Condition: E...

Duomo (Florence) Etching & aquatint , 1965-66 Signed, titled and annotated "artist's proof" (see photos) Edition: 100, this impression an artist's proof Reference: Silvie Turner. Ju...

Vintage Costa Brava coastal seascape oil painting on canvas by V Blanch featuring waves crashing against the rocks with sailboats and a mountain lined horizon. Costa Brava (aka th...

Antique Japanese imari porcelain serving plate / charger with scalloped edge, decorated in cobalt blue, orange, gold, and green with a central motif of berries and leaves, surrounded...

Charming Canine Companion 14" Square Pillow filled with loose poly Dacron batting. This pillow is hand crafted, as you can see with the perfect corners and the zipper details. Plea...

Connais-tu le Pays (Primavera) apres J. Rolshoven (Do you Know the Country -Spring) Etching, 1889 Signed "Julius Rolshoven" in pencil...

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...

Bernhardt Interiors two door cabinet. German silver wrapped over wood. 40" W x 18" D x 30" H.

Signed by the artist in pencil, lower right Provenance: Estate of the Artist With the artist's original presentation (Frame and matting) Two similar titles were exhibited in The ...

Bacchanal Etching, 1649 Inscribed in the square left: "Magnificentis/simo Principi/Paolo lorda/no. II Bracci/ani Duci/Aud. P.DDD/1640; Inscribed on right: Rome apud Franciscsum Saluucium Condition: Usual centerfolds from paper manufacture Plate: 10 3/8 x 15 1/2" Sheet: 11 1/2 x 16 1/2"; References: Bartsch XX.4 Sopher Plate 145 An impression of this image is in the collections of the Philadelphia Museum of Art and the National Gallery of Art, Washington An exceptionally rich impression in excellent condition. From Wikipedia, the free encyclopedia Putti as Allegory of Music Giovanni Andrea Podestà or Giovanni Andrea Podesta (1608 - c. 1674) was an Italian painter and engraver who was principally active in Rome. His principal subject matter is children playing in landscapes with classical objects. His works show the influence of Poussin's Arcadian landscapes and bacchanals, which were ultimately derived from Titian's bacchanals. Life Giovanni Andrea Podestà was born in Genoa. He was formed in Genoa with Giovanni Andrea de Ferrari and Domenico Fiasella according to the information provided by the contemporary Genoese biographer Raffaele Soprani. He is also recorded as an apprentice of Giovanni Battista Paggi in 1627. His presence is documented from in 1634 in Rome where he made drawings after the statues and ancient reliefs at the famous Giustiniani collection. These were subsequently engraved for publication in the 'Galleria Giustiniani'. The artist's career ran a course similar to that of the young Domenico Fiasella. In Rome his art evolved in contact with the works of Poussin, Andrea di Leone, Pietro Testa...

Vibrant and Textured mid-century modern Textured Original Paper Fiber Wall Art by G. Hoff Habbhaffn circa 1999. This was originally sold in Don Drumm studios and gallery. Serial co...

(Darius II with his hand over his face) Signed with the artist's initials lower right Watercolor on Twinrocker heavy weight paper, 2019 Depicts the artist's son. Condition: Excellent...

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair L...

Standing Woman in Profile Pen and ink drawing, c. 1900 Unsigned Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Condition: Excellen...

Richard Wagner Etching, c. 1880 Signed in the plate (see photo) Edition: c. 200 impressions Condition: mint Image/Plate size: 6 5/8 x 4 3/4 inches Sheet size: 14 3/8 x 10 7/8 inches ...

Cobwebs and Rocks Watercolor, 1940 Signed, dated, and copyrighted lower right Exhibited: Zimmerli Art Museum, Benjamin Benno: Retrospective Exhibition, 1988 Illustrated: Gustafson, Zimmerli Museum: Benjamin Benno: Retrospective Exhibition, 1988 Color Plate 14 copy copy of the catalog accompanies the watercolor Condition: excellent Image size: 14 3/4 x 21 inches Provenance: Estate of the Artist Ruth O...

This stunning ring features a 6.77-carat Ethiopian opal with a mesmerizing play of colors. It's surrounded by a sparkling halo of earth-mined diamonds, all set in solid 14K yellow go...

Derrier le Miroir, cover, Volume 141 Original color lithograph, 1963 Unsigned and unnumbered (as issued) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Condition: E...

Antique German / Bavarian fork and knife carving set with antler / stag horn handles accompanied by sterling silver collars and bull / steer / bison head pommel caps.  The cutlery pi...

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'...

Charming Edwardian Era Desk Chair, circa 1900s. Features a quartersawn oak frame with a slat back, contoured arms and a leather seat. The seat is mounted over an adjustable base. ...

Dejeuner sur l'Herbe Lithograph, c. 1914 Edition: c. 100 Unsigned as issued by Vollard References And Exhibitions: Commissioned from Cezanne by Ambrose Vollard in the late 1890s Prin...

Untitled Mixed media on paper, 1981 Signed and dated 1981 lower left (see photo) Provenance: Knoedler Gallery, New York (label) Charles Cowles Gallery, New York The Collection of Jan...

Prelude to Transition Pastel on paper, 1953 Signed and dated lower left (See photo) Image size: 10 1/2 x 13 3/4 inches Frame size: 24-5/8 x 1-1/2 inches Exhibited and Illustrated: Z...

An unusual 63" long bench or chaise by Swaim. This bench has an espresso finished base with curved stretchers. At each end there is a tall flared upholstered arm. Two removable cushi...

This early 18th century tin glazed earthenware platter was made by the Hannong ceramics factory in Strasbourg, France. Hannong was founded in 1721 by Charles-François Hannong and rem...

Untitled Abstraction Graphite on paper, c. 1950 Unsigned Signed with the estate stamp verso (see photo) Provenance: Estate of the artist Inherited by his neighb...

The Infant Jupiter Nursing from the She-Goat Amaltheia (The Birth of Jupiter) Red chalk and wash on off-white paper, c. 1700 Unsigned Attribuuted to Quaini by Dwight Miller, the sch...

A Mod styled table lamp with black lacquered solid wood base, chrome handle to the top, large aluminum shade to the side with bulb and dimmer switch. Can use a large white ball bulb ...

Beauty Otami - Kabuki Note: Kabuki actor Nakamura Matsue is in the role of courtesan otami. She is standing in front of a small tea shop in a garden. Color woodblock, c. 1800-1810 Si...

This Modern Hobby Desk in White is made in the heart of Ohio with locally sourced wood. Each desk is hand-made in maple with a white matte lacquer commercial grade finish. The base i...

Baker Furniture Expresso Finish Chest of Drawers Milling Road Collection, circa late 20th century. Regency Style. Made in Italy. Dark maple wood original finish with antiqued hardwar...

L'Angellus Etching, engraving and acquatint on Arches paper, 1902 Signed lower right by the artist (see photo) This is a first state impression printed in a brown/black ink, one of ...

An exceptional early 19th century drop leaf sewing work table. Features a crotch mahogany frame with a drop leaf over two hand dovetailed drawers with curved front over a large lowe...

Veillee Sepulchrale Verso: Study of two figures in a landscape Pen and ink on rose colored Canson watermark paper, 1944 Signed in ink with the artist's initials lower center (see photo) Dated 1944 lower center; Titled in ink upper left corner (see photo) Provenance: Swann Galleries, 2010, realized $900. John Popplestone (1928-2013), Akron, OH collector, noted psychologist and author Berman brothers (painters) From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about the painters. For the American songwriters/producers, see Berman Brothers (producers). Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...

Slit Mirror Steel by Phillip Jividen Dimensions: W 84 x D 3 x H 112 cm Materials: Stainless Steel. Taking cues from Lucio Fontana’s Slash paintings, the Slit Mirror merges the boun...

Spanish-Italian Porcelain Chandelier Beautiful, Good Condition Porcelain and Brass with Porcelain Flowers and Crystal Prism Includes matching cover for electric plate in the ceiling ...

Kindel Winterthur Collection Mahogany Goddard Townsend Blockfront Secretary Writing Desk. Made from mahogany with a high sheen finish. This exception ...

An exquisite Edwardian Era Hotel Sign showcasing a portrait of Queen Alexandra of Denmark, who served as Queen of the United Kingdom and Empress of India. Alexandra is seated at the...

This one-of-a-kind piece will grab attention with any outfit! 6-strand freshwater pearl necklace with turquoise beads. Center has two large turquoise, open circle pieces connected b...

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...

Theodore Alexander inlay walnut and satin brass modern coffee table. Top is 1" thick. Table measures 35" wide x 15" tall.

This beautiful ring features a 1.50 carat Chrome Tourmaline gemstone with natural earth mined diamonds set in solid 14K white gold. This Chrome Tourmaline ring makes a lovely October...

This is an original work by world famous artist Hunt Slonem.

Late 20th Century Neoclassical Directoire Style Table Lamp. Features a round travertine urn shaped center supported by a neoclassical style iron frame over a triangular stepped plin...

untitled (Maine Autumn Landscape across the narrows from Mt. Desert) Watercolor, 1945-1955 Signed by the artist lower left in pencil (see photo) Provenance: Estate of the artist Cond...

A vivid 3.57 carat emerald-cut tanzanite commands attention at the heart of these starburst earrings, encircled by a dazzling halo of earth-mined diamonds in mixed shapes. Set in sol...

Modernist female nude painting by George Yatrides (B 1931) oil on canvas, heavy textured paint, great colors, excellent condition, c 1964. Measures: Image: 28.5" W x 31" H and with F...

A set of five Foster & McDavid dining chairs, walnut, circa 1960s. Founded in Florida in 1950s. One arm chair and four side chairs. These chairs have been reupholstered in a beautiful textured black velvet fabric. If you take a look at the pictures, the back fabric is a different design than the front fabric, making the back even more unique with its exposed lattice structure...