Ohio

Sorry, we are no longer offering reclaimed oak. If you like this design, please contact us for pricing on other wood species! Modern farmhouse dining table...

Reclining Model in the Studio Interior Crayon on laid paper, c. 2000 signed lower right (see photo) A vigorous expressionist rendering of a model reclining in the studio. Condition: ...

A GIA-certified natural pink sapphire glows in a soft, romantic pink at the center of this solid 14K yellow gold ring, flanked by four earth-mined diamonds. Untreated and Ceylon-sour...

Mid century arched palladian mirror featuring Hollywood Regency and Art Deco styling with beveled panels and layered frame design. Dimensions: 28" x 1" x 44" (W x D x H)

A very well-crafted Mid-Century birch wood secretary desk with pull down door a small shelve and three drawers with dark wood contrasting pulls. The lower area has double doors with ...

Traditional hardwood sculpture pedestal or plant stand. Features an eight-sided octagon design with paneled support. Marked along the underside. Dimensions: 19" x 19" x 42.5"h

A gold toned flip open cigarette case with upper lighter, the inside having spring loaded wings to hold your cigs or other combustibles. Presented in its original manufactures displa...

Vintage 1980s Ming Style Coffee or Cocktail Table. Crafted from solid wood construction with gorgeous natural grain and just the right amount of patina. The low, square silhouette i...

Very large and exceedingly rare English Renaissance Revival fireplace mantel, circa 1860s. Made of hand carved walnut featuring a gothic cathedral design. The fireplace portion is ...

Rare antique Art Nouveau Duhme & Co sterling silver 925/1000 vanity dresser dish / pin jewelry tray featuring a repoussé floral and gadrooned border with scalloped edges.  The center...

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...

Original oil pastel, ink and gouache figure drawing by celebrated, twentieth-century California landscape painter, Ronald Shap. Sketch of nude woman reclining in a turban in washes o...

1970s Parsons style coffee table. Made from oak with a herringbone design square straight legs. Dimensions: 29" x 58" x 16"h

Antique Korean Bandaji chest or trunk featuring Zelkova elm frame with brass accents. The Korean name bandaji (literally meaning "half clo...

Bertu Tables, Beam Modern Wood Coffee Table, Wood Beam, 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. This Modern Wood Beam Coffee Table...

CraftAssociates Danish Chairs, Peabody Danish Modern Lounge Chairs, Boucle, Oak This modern lounge chair by Lawrence Peabody : Holiday Series for Craft Associates Furniture is exper...

WOW, this is amazing, and one-of-a-kind! Approximately 8.69 total carat weight of diamonds with a round center diamond approximately 3.5 carats! This is a stunning, eye-catching de...

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) References And Exhibitions: Arwas 33 2...

Enormous Greek Apulian Red Figure Lekythos, 19th/20th Century Terracotta 41 x 15 inches This has been mended and is showing numerous cracks. A lek...

A rare custom-made Rattlesnake cap, belt and cowboy hat keychain by Maverick Trading Post Company of Texas, circa 1970s. The hat is adjustable and includes rattlesnake taxidermy hea...

Antique Brunswick Balke Collender Improved Union League Pool Table, Circa Late 1894s to early 1900s, #34026. The Improved Union League Design...

A Very Fine American Federal Period Carved Mahogany Sofa, circa 1810. Features a bowback frame with cross banding. Sloped arms lead to reeded supports in front of remarkable three-di...

Contact us for designer/trade pricing. This Rockefeller Modern Oak Console - 4122 is made in the heart of Ohio with locally sourced wood. Each ta...

A set of four sculptural solid teak wood framed dining chairs upholstered in a tightly woven contract fabric. These exceptional chairs are a superb quality examples of work done by e...

This Suelo® Slatted Outdoor Side Chair is beautifully constructed in Ohio, USA. This silhouette is simple, modern, and sleek with comfortable back and ...

A natural color-change alexandrite glows at the centre of this solid 14K rose gold ring, framed by six earth-mined diamonds. Alexandrite is one of the rarest of all gemstones, shifti...

Pair of Mid Century Coastal Bohemian Armchairs. Features a bamboo frame with interlaced rattan balloon back and removable cushions. Dimensions: 27"w x 25" x 44.5"h

This antique oak box features an intricate Grand Tour style design heavily inspired by Neoclassical and ancient Greek motifs. While the exterior lid showcases a striking burl wood ve...

Rare mid century wall hanging hidden mini bar shadow box cabinet featuring a 3D lenticular print of lakeside deer and Karoff glass barware. No sure who made the cabinet, but the art...

CraftAssociates Nightstands, Milo Baughman Modern Walnut Nightstand The Milo Baughman Walnut Night Stand for Craft Associates® Furniture is expertly crafted. These are a licensed re...

Antique Sheraton period card or game table, circa 1790-1820. Made from mahogany with crotch mahogany veneer, featuring an inlaid flip top octagonal demilune top supported by square ...

Vintage Louis Philippe style miniature chest of drawers / commode made of walnut with a string inlay of satinwood on the top and front. The case, finished on all sides, holds a shall...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Vintage Maitland Smith French Louis XVI style Gueridon / martini side table. Made of walnut featuring round form with beveled glass top, floral and acanthus accents, and tapared and...

Antique Korean Bandaji chest on stand or trunk featuring Zelkova elm frame with brass accents. The Korean name bandaji (literally meaning ...

untitled (polo player on horseback) Chalk on tan paper, c. 1920 Unsigned Provenance: Gift of the artist William McGill (Keller's student) Image size: 4 3/8 x 5 ...

Alexander Calder Back Cover from Derriere Le Miroir, No. 190, Fevrier 1971 Color lithograph, February 1971 Published by Aime Maeght, Paris Printer: L'Imprimerie Arte, Paris Condition...

Surrealist Landscape Oil on canvas 'R. Lee Glenn' verso 30 x 24.25 inches 31.75 x 26.75 inches, framed Surrealism aims to revolutionize human experience. It balances a rational visi...

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...

Fine Mid 19th century Korean Tansu Nong Bandaji tallboy chest. Made from Zelkova Elm frame with brass accents. Acquired from Moby Dicks Maritime Antiques in the 1970s. The Korean ...

This Suelo® modern wood dining side chair is beautifully constructed from solid wood in Ohio, USA. The chair's silhouette is simple, modern, and sleek with comfortable back and seat ...

This vintage Wildwood table lamp features a rectangular lithographed tin made in England depicting Chinoiserie scenes finished in shades of red, gold,...

This Santa Fe Small Dresser in White Oak is current yet timeless. It is made in the heart of Ohio with locally sourced wood. Each dresser is hand-made in white oak oak (or the w...

Antique Victorian divided bamboo magazine rack featuring a distinctive diamond-shaped design. Dimensions: 15.5" x 8.5" x 22.5" (W x D x H)

These Chile Outdoor Bar Stools in Natural are beautifully constructed from solid wood in Ohio, USA. The bar stool is chunky and modern with a comfortable cushion made for outdoor use...

Pair of two antique French hand-colored engravings from the rare 19th-century series Collection de Costumes des diverses Provinces du Grand Duché de Toscane (Collection of Costumes o...

Vintage Japanese Paulownias and Chrysanthemums framed lithograph after artist Sakai Hoitsu. The lithograph looks like a two panel folding screen, mounted in a black lacquered and si...

A well crafted set of fixtures having cut glass styled crystal lower handle bases with decorative 24K gold plated laurel mounting plates . The sink , faucet , porcelain bowl and bot...

Bertu end table, solid wood end table, maple Please scroll down to read important instructions about our stumps before purchase! Why buy BERTU HOME stumps? KILN DRIED Our...

A 1.76-carat padparadscha sapphire glows in its signature pink-orange, set east-west at the centre of this solid 14K white gold ring and wrapped in a halo of twenty-four earth-mined ...

Julian Stanczak (American, 1928–2017) Red is a Red, 1969 Acrylic on canvas Signed, dated and titled verso 28 x 28 inches 29 x 29 inches, framed OpArt red geometric acrylic painting ...

Late 20th Century / Early 21st Club chair by Grafton Furniture. Features a French Art Deco inspired frame with curved back and scrolled arms. The cha...

A very unique teak wood indoor rectangle plant container with a fantastic professinally done silk arrangement included in the piece. Manufactured in the style of Spottrup / Stolefabr...

Bertu Chair and Ottoman, Suelo® Modern Chair and Ottoman, Patio Furniture This Modern Patio Furniture - Suelo® Chair and Ottoman is beautifully constructed in Ohio, USA. This silhou...

A very well crafted smaller sized Mid Century rolling bar cart in a well grained mahogany with black wheels . The cart has one upper drawer ,lower inset shelve and bottom platform sh...

George Gustav Adomeit (American, 1879-1967) Cape Ann Coast, 1922 Oil on canvas Signed lower left 20 x 24 inches 20.5 x 24.5 inches, framed A major painter of American scene subjects...

A very well crafted larger sized geometric pottery table lamp by Jane and Gordon Martz is in a darker charcoal green tone with incised lighter contrasting lines to the body. A walnut...

Lobsterman's Cove, Winter Harbor, Maine Lithograph, 1941 Signed in pencil lower right (see photo) Edition 50 Impressions are in the collection of the Pennsylvania Academy of the Fine...

Antique Japanese Ando Jubei Celadon / turquoise wireless cloisonne mantel vase or urn. Signed on base. Dimensions: 4" x 9.75" (D x H)

Dorothy Draper designed the original of this chair in 1945 for the Café and rooms at The Greenbrier Hotel in West Virginia. The swirling lines of the back splat, the French inspired ...