Pennsylvania

Antique American Colonial Cherry Wood Slender Leg Pembroke lamp side end table. Item features tall slender legs with pad feet, drop sides, solid wood c...

Crafted from 18kt rose gold, this ring boasts a warm and luxurious hue that enhances its overall elegance. The band is polished to a high shine, providing a sleek and refined finish ...

A fine Mid-Century cocktail ring. In 14 karat yellow gold. With a large oval modified brilliant cut citrine prong-set in a high openwork setting. Marked to the shank. Simply a w...

Pair of high end upholstered living room lounge chairs in the original striped patchwork upholstery featuring spring down cushions, tight backs and flippable seat cushions. Hand craf...

Impressive large horizontal mantel mirror having gesso gold leaf fancy French style.

AUTHENTIC BRITISH ROORKHEE CAMPAIGN CHAIR Marked "M & S 47", in early canvas covering with leather strap arms and fore-aft belting England, circa late 19th to early 20th century 35...

Pair of Vintage Diamond Shaped Deep Wood Frame Gold Leaf Wall Mirrors Attributed to Labarge. Item features shaped wood deep frames and original antiqued gold leaf finish. Circa Mid 2...

An incredibly rare set of Van Cleef & Arpels earrings showcasing 2 Sugilite stones in the shape of the lucky alhambra motif set in 18k white gold. The e...

This stunning, important pitcher by Industria Ceramica Salernita (I.C.S.), featuring a parade of goats in bubbly, volcanic glazes, was likely designed in the late 1930s when Guido Ga...

A sculptural wood & cane single bench. Great vintage decorator piece. Well made and in great shape for it's age.

SUPERB Persian Heriz Rug - RR4857 This is a beautiful Persian Heriz Rug in very good condition. This is an authentic Persian Rug, made in Iran, and not a reproduction or copy from C...

This 14k gold ring features a Beautiful Kingman Turquoise nugget that will add a pop of color to any outfit. The unique shape of the nugget and the intricate details of the band make...

A fine bow-shaped brutalist 14K gold ring. A very wearable Mid-Century design comprised of textured ribbon set with small emeralds and a smal...

The Small Chippendale Bench is a hand carved, Chippendale style bench carved from solid, kiln dried, plantation grown, mahogany and features an upholstered slip seat on cabriole legs and ball and claw feet. Beautifully finished with neutral upholstery the Niagara Furniture...

This is a very interesting model Morris Chair made by "Lifetime." Made in the Stickley Era (early 1900s), the chair is in excellent condition with the original finish. Sturdy and Str...

Antique Victorian figural swan bird twisted brass 48" fireplace fender hearth. Item featured has attractive aged patina, swan bird figures, twi...

Attributed to Maison Jansen Brass, Lucite and Glass Serving Table. Top tray lifts off to serve easily. Glass Surface is 29" high. Nice Original Condition. Bought in Paris about 1...

Lucio Fontana 1899–1968 Concetto spaziale (from XXe Siecle) 1959 pochoir 12⅜ h × 9⅝ w in (31 × 24 cm) This work is from the edition of 1500 published by San Lazzaro, Paris.

Antique Kent Silversmiths Art Nouveau Twin Knob Handle Silver Plated Champagne Chiller Ice Bucket. Item features floral scrollwork etched design, sca...

A fine antique German Biedermeier period topographical porcelain cup and saucer. The front decorated with a finely hand painted depiction of ...

A stunning watch from the Retro (ca1960s) era by legendary watchmaker Patek Phillipe for Tiffany and Co.! Crafted in 18k vibrant yellow gold, the piece features an intricately woven,...

A gorgeous diamond ring from the Georgian (ca1750s) era! Crafted in 15k yellow gold and sterling silver, this ring features 3 diamonds running horizontally across the ring's front su...

Vintage French Country Provincial Louis XV style executive office writing desk with glass top. Item features a custom glass top, sol...

Vintage Mid Century Modern Clear Lucite Aluminum Swag Base Rolling Swivel Desk Chair with Black Loose Cushions. Circa Mid 20th Century. Measurements: 35" H x 17" W x 19" D x 19" Seat...

This stunning Japanese Momo coral necklace features beautifully matched natural coral beads in rich, warm peachy-orange tones, gradually graduating...

Vintage Hollywood Regency Pink Hooded Dome Porter Canopy Balloon Chair. Circa Mid 20th Century. Measurements: 56" H x 31" W x 31.5" D x 20" Seat h...

This Perle ring, featuring a thick white gold band covered with diamonds and bordered by polished white gold beads, would be a great addition to any ring co...

A fine antique Georgian salver. In sterling silver. By Ebenezer Coker. With a pie crust edge and engraved floral trellis & scroll work to the center. Supported on 4 scroll feet. ...

Comprised of hinged elongated bar links with short terminals Grooved and fluted to depict a roman column motif With a high polish finish throughout Completed by concealed clasp closu...

A fine Brutalist dresser box. With stylized nude figures around its circumference, linked hand-in-hand as if in a Bacchanalian dance, the male figures with erect penises...

A very fine gold and diamond band ring. In 14k yellow gold. With 7 channel-set, round-cut white diamonds with lovely color and lots of fire. Simply a beautiful natural diamond rin...

A fine Southwestern silver pendant. In sterling silver. In the form of a bear with engraved line and sun devices. With an applied bail and jump ring. Simply a wonderful vintage p...

A charming butterfly-shaped pendant measuring 0.50 long by 0.65 wide is suspended at the center of a 20 chain on this exquisite necklace. The pendant is crafted from 14K White Gold a...

A fine antique French cut glass casket. With a pressed and cut glass body and cover with a gilt bronze mount. Together with an associated key fo...

Vintage Chinoiserie James Mont Style Asian Horseshoe Ming Lounge Chair by Century. Item features a solid wood frame, clean modernist lines, quality American craftsmanship, great styl...

This sophisticated view of a 1920s cocktail party -- probably taking place on the upper levels of an Art Deco tower in New York or Chicago -- was painted by Robert Patterson, one of ...

"Bacchus" Vintage Corkscrew Wine Bottle Opener Pop-Art / Post Modern Italy, circa 1980 " fun and quirky" " in as found vintage c...

Like seeing the Earth from outer space, this mesmerizing black opal cabochon is filled with iridescent blues, Sunkist orange and neon greens. Masterfully hand fabricated in 18K white...

This set has both upholstered backrests which both extend to the floor, and support the seats. The structure is made of tubular brass and starting from the backrest, it curves to cre...

A very fine studio glass paperweight by Chris Buzzini. With a lampwork orchid (including the roots). With a signature cane to the reverse of the ro...

18k Yellow Gold & Silverium (800 silver) Panther Panthere Emerald Pearl Bracelet by Cartier. The Panthère de Cartier bracelet showcases the iconic panther in 18k yellow gold and Silv...

Vintage S. Bent & Bros black painted eagle colonial pub style chairs - a pair. Item features a gold eagle to backrest, spindle backs, solid wood construction...

This enchanting antique pendant was once a beautiful brooch (circa 1890-1900)! Featuring vibrant turquoise cabochons, delicate white enamel, and a dazzling diamond center, this 14k ...

Beautiful ceramic vessel by Toshiko Takaezu. this is an early bottle form, the glazing is consistent with this time period and the signature is also cor...

Piero Fornasetti "Pesci" Porcelain Plates, Set of Six Plates with Schools of Fish, Circa 1970s Each of the six different designs depicts a school of similar fish swimming across th...

Regency-period Coalport Porcelain service is of the finest quality in terms of the porcelain itself and the decoration, each shape is particularly well designed with a distinctive shape. The centre of each piece has a floral design based upon Chinese Export "famille rose" with pink and yellow flower swirls. The ground with a distinctive aqua blue. The crimped rims have a wide border pattern alternating between a mazarine blue reverse flower-head design with a cracked ice gilt decoration and a diaper pattern on a yellow ground with flowerheads issuing forth. The service consists of the following 39 pieces: One Tazza (9 3/4 inches wide x 7 inches high) Two circular sauce tureens and covers (7 inches high x 6 1/2 inches wide) Four oval dishes (12 inches x 8 1/2 inches x 2 3/4 inches) Four shell dishes (10 1/4 inches 9 1/2 inches) Five rectangular dishes...

A fine French Art Deco period cocktail ring. In 18k yellow gold. Prong set with a large ca. 9 mm off-round, slightly baroque white pearl in a shaped setting. Hallmarked on the ba...

Amuneal’s modern easels offer a sculptural display system for your favorite artwork and photos. Our blackened steel and aluminum supports clamp your images between two sheets of ?” t...

Designed as a gold band centering an 'H' applique Featuring a channel of opaque purple enamel Glossy and displaying no loss With high polish finish Stamped for 18 karat gold Circa: 2...

Pair of cylindrical brushed chrome metal and glass end tables Same era as: Charlotte Perriand, Jean Prouve, Pierre Pauline, Serge Mouil...

Early 20th Century cast iron bollard. Original patina. In good condition. Approximately 3800 pounds. Please note, this item is located in our Scrant...

This exquisite antique bangle showcases the timeless elegance of natural jade, beautifully complemented by 14K gold accents. The bracelet features a smooth, rounded jade band in a so...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

This elegant Piaget watch features a classic oval case and a woven 18 karat yellow gold bracelet, showcasing a timeless design with a minimalist dial and Roman numeral markers. Watc...

In the Renaissance Revival rose pattern first produced by the Barrettoni già Antonibon pottery in Nove, Italy, a hand painted, round serving platter with a scalloped rim, circa 1930s...

This petite sized Small Bookcase from Niagara Furniture features good vertical storage in a narrow space. The simple yet elegant design makes it useful...

"Afternoon"is an original piece by Ulla-Stina Wikander that is a free standing sculpture with variable arrangements. This piece is made from sourcing vintage needlepoint embroidery o...

A fine vintage vermeil and jade brooch. In gilt silver. In the form of a butterfly with the wings comprising carved jade cabochons and openwork filigree. With a pin and safety cat...

A fine pair of vintage gold & jade screwback earrings. In 14 karat yellow gold. Each with a central jade (nephrite) cabochon surrounded by gold openwork petals. Marked for finenes...

A pair of fine Mid-Century Modern silver drop or dangle earrings. In sterling silver. By Paul Lobel. Each with an openwork drop supported by a screw back closure. Lobel was a Ro...