South Carolina

18th century Swedish secretaire, from Baroque period, circa 1750 in original gorgeous blue/green patinated color with slant front desk with interior features numerous small drawers ...

19th century mother-of-pearl crucifix adorned with baroque pearls and mounted on optical calcite. This is a crucifix reliquary from Jerusalem (which is written on the back), created ...

18th century Italian hand-carved and gilded crown adorned with rutile quartz crystals and baroque pearls. It is mounted on a coordinating gilded fragment with a metal crown base that...

German Lusterweibechen central carved poly chromed figural lady mermaid playing lute with flanking stag antlers, and six electrified foliage scrolled arms chandelier, 19th Century

Early 18th-century Swedish large chest of drawer in brilliant blue finish with gold gilt accent. The top is shaped wood and marbleized traditional style of the era. Drawers are gent...

Concrete bird bath with a shell motif. The top and the base are two separate pieces, but fit snuggly together so it won’t topple over. Some wear to the interior of the bird bath. Som...

Spectacular three tier capiz shell chandelier, reminiscent of Panton’s 1964 ‘3DM’ design, is made circa 1965. The circular capiz shell discs are mounted on a wooden ceiling plate by ...

18th century Italian hand-carved and gilded crown adorned with polished agate slices and baroque pearls. It is mounted on a coordinating gilded fragment and free-forming agate coral ...

Toshi Yoshida, 'Woman In Bagdad', color woodblock print, 1954, edition not stated. Signed, dated, and titled, in pencil. A fine, richly-inked impression, with fresh colors, on cream-wove Japan paper; the full sheet with margins (1/2 to 7/8 inch); minor toning in the margins, otherwise in excellent condition. Self-carved, self-printed. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Exhibited: 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp.168-169; Eugene M. Skibbe, Yoshida Toshi 1911-1999: Diversity, Change, and Continuity in the Yoshida Art Tradition, Andon 53, Society for Japanese Arts, 1996, pp. 5-14; Kendall H. Brown, Yoshida Toshi: The Nature of Tranquility, in, A Japanese Legacy: Four Generations of Yoshida Family Artists, The Minneapolis Institute of Arts, 2002, pp. 72-80; p. 91, no. 55 Exhibition: Japan & Beyond: The Yoshida Family Legacy in Japanese Woodblock Prints, curated by Kendall Brown and Quyen Le, The Ruth and Sherman Lee Institute for Japanese Art, Hanford, CA. February 3, 2004 - March 27, 2004. Collections: Art Institute of Chicago, Clark Center for Japanese Art and Culture, Minneapolis Institute of Art, University of California Merced, University of Oregon (The Lavenberg Collection of Japanese Prints). ABOUT THE ARTIST Yoshida Toshi (1911-1995) began training at the age of 14 under his father, Yoshida Hiroshi, one of the most acclaimed artists of the Japanese 20th-century printmaking revival movement shin-hanga (’new prints’ created in the traditional collaborative system of Japanese printmaking). He studied from 1932 to 1935 at the Taiheiyo-Gakai (Pacific Painting Association), co-founded by his father. Before the Pacific War, Toshi traveled widely with his father in Asia, Europe, Egypt, and the United States. Later he continued his worldwide travels, especially in Mexico, the United States, Canada, and Africa. Following his father’s death in 1950, Toshi began his very personal exploration of abstraction, joining the sôsaku-hanga movement (’creative prints’ wherein the artist is creator, carver, and printer). During this richly creative period (1954 to 1973), Toshi created over three hundred nonobjective designs. In the early 1960s, Toshi returned to large-scale figurative work, concentrating on scenes of African wildlife in its natural habitat, and in 1984 he published the first of many illustrated children's books on African wildlife (Dobutsu Ehon Shirizu), which he continued to produce until the early 1990s. In 1966 he published a book with the artist Yuki Rei...

Charles Turzak, 'La Salle and Washington Street (Chicago, Illinois)', woodcut, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impre...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

English Georgian chinoiserie red lacquered and figural painted gilt tall case clock, Robert Fleetwood, 18th Century Tall case clock is in working condition.

18th century Italian hand-carved gold-leaf angel holding a torch with a Himalayan diamond flame and a coordinating naturally formed baroque pearl. The Himalayan diamond takes the place of a candle, which originally would have lit a great room or alter of a historic church in Italy. Despite the similar sparkling brightness and clarity, these "diamonds" are actually found as doubly-terminated crystals from the foothills of the Himalayan mountains near the borderlines of Tibet and Nepal. Interi transforms European...

"""Tranquility"" Black and white profile image of a beautiful horse swimming in clear water Profile image of a dark horse swimming in crystal clear water taken, captured underwate...

This three piece outdoor furniture set is a timeless piece of furniture. Composed of durable metal that has been primed and painted and ready to be used on your porch or in your gard...

A large black polished obsidian slab. This piece of obsidian is reflective in nature and it is similar to what the indigenous Mexican Native Americans used for their mirrors. Obsid...

19th century French painted commode with Neoclassical infulence, straight lines, updated paint but retain Gilt bronze mounts. Paneled four drawer fronts and side panels. Shaped top w...

A very handsome Italian 18th century - authentic piece - two door armoire, in original painted finish in soft blue and pale gray tones with inside hanging rails. Wonderful patina - t...

Edward Landon 'Astral Comic', color serigraph, 1978, edition 25, Ryan 12. Signed, titled, and annotated 'Edition 25' in pencil. A superb, painterly impression, with fresh colors, on ...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

18th century Dutch in original painted oak two peace cabinet with simply carved unusual crest. The double paneled door upper cabinet sits atop three bombé drawers with beautiful deco...

Clinton Adams, 'September Still Life', lithograph, 1956, edition 20. A superb impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches);...

American Bronze three tiered garden sculpture fountain of three children playing on shoulders and resting on a decorative plumbed circular plinth, Mid 19th Century

"""Mundari's Pride"" Portrait of a long-horned cow looking toward the camera in South Sudan Long-horned cow looking towards the camera with a black & white coat in the cattle camp...

"Youth Reflected Fashion-inspired portrait of two young women posed in traditional jewelry Two young Rendille women proudly standing back to back in the salt flats of the Northern ...

18th century large Italian charming rustic later painted drop front secretary with multiple cubby holes and drawers above two large base drawers on short tapered legs. circa 1780, It...

Anton Schutz, 'Westminster Abbey', etching, edition not stated, 1927. Signed in pencil. Signed and dated in the plate, lower left. A superb, richly-i...

Charles Turzak, 'Loop Alley (Chicago)', color woodcut, edition c. 25, c. 1935. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan pa...

Hailey Lever 'Storm Clouds Over Douarnenez, Brittany, France', watercolor, 1904. Signed 'HL' in pencil, lower left. Titled and dated in pencil, on the original mat backing. A fine sp...

17th century Italian wood-painted figure of Christ (Provence of Lucca, Tuscany) on a coordinating smoky crystal quartz in matrix base. In Easter celebrations of the Italian Catholic...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

Possibly by Stiffel but, it’s unmarked. Lamp is in great shape. I didn’t notice any dents and no discoloration. It’s in overall very good condition and includes a lamp shade. Height...

Ohara Koson, 'Hollyhock and Dragonflies', color woodblock, 'oban tate-e', 1934. Signed 'Shoson' with the 'Shoson' red seal, lower right. A superb, life-time impression, with fresh, ...

Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...

Petite squash blossom necklace created in 925 sterling silver and features vibrant blue turquoise with pyrite inclusions. We believe this turquoise to be either Morenci or Kingman tu...

A richly, exclusively carved Swedish Gustavian period sideboard has reeded paneled doors and drawers with central diamond shape lozenges in hand scraped patina - in classic Gustavian...

"Trimmed in Grace" A young Rendille woman wears the traditional adornments of her culture with honor and pride in this iconic, award-winning portrait. The print series Desert Son...

Close up of a wild and free horse on Sable Island with a star on his forehead The strength and resilience of these animals comes through in the intensity of their gaze The print se...

This Gustavian style chest of drawers from Sweden ca 1830-40 in pine wood, painted finish in soft blue with classic details as fluted corners, shaped top, three large drawers with ci...

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, black impression, on off-white Japan, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collection of: Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

" Lady's dress watch by Omega measures 6.5 inches long. It weighs 13.3 pennyweights. It has a rectangular platinum case measuring 13.62 by 13.21 mm with bead set round diamond lugs. ...

English Mahogany mid-19th century hall bench

"Windy Solitude" This best-selling image features a single horse on Sable Island as he looks back at the camera. " The print series Discovering the Horses of Sable Island documents...

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

"White Out" As a thick fog enveloped the harbor, the yacht Victory and other 12-Meter boats lined up waiting for the regatta to start. The suspense and excitement hung in the air. ...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Gorgeous vintage 14k solid yellow gold textured ring featuring a cultured akoya pearl centerpiece, best fits a US size 6.5 finger. " Lady's pearl ring is made in 14 karat yellow gol...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

"Coastal Rays" In this best-selling print, the mist of the Pacific Northwest lends a textural effect to the air and light. Experience the photographic journey through the cultura...

Stunning 22k gold 5 Dollar Lady Liberty coin in a 14k yellow gold and diamond frame pendant. Measures 1.25 inches from top to bottom by .9 inch in width and 3mm in depth. Stamped / h...

For your consideration is a fantastic brass table lamp with reticulated brass shade. I don’t know about you but, I love pierced metal, ceramic, porcelain- anything pierced that has l...

Beautifully crafted antique Waltham pocket watch in a stunning solid 14k yellow gold hunters case by Keystone (for repair). This pocket watch is circa late 1800's to early 1900's and features a monogram front with floral back, very ornately engraved. Hefty in size measuring 2 inches in diameter by half an inch in depth, 2.7 inches in total length with the bow and crown. This classic pocket watch winds up...

Charles Banks Wilson, 'Old Injun', lithograph, 1948, edition 250, Hunt 39. Signed in pencil. A fine, richly-inked impression, on off-white wove paper, with full margins (1 3/4 to 2 inches), in excellent condition. Published by Associated American Artists. Impressions of this work are in the permanent collections of the following institutions: Ackland Art Museum, Georgetown University...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Vintage 14k solid yellow gold 32nd Degree Scottish Rite pinky ring with enamel. Best fits a US size 3.25 finger, measures 8mm at its tallest points by 2mm at its smallest points. Mar...

Stunning antique Victorian mourning brooch featuring brilliant diamonds set in 15k gold. This beautifully crafted brooch also has a locket on the back to house a photo or lock of hai...

Framed 'Hypanartia Lethe Nymphalidae' butterfly with coordinating 18th century Italian fragments. The butterfly has a beautiful color combination of neutral brown and orange tones an...

Charles Turzak, 'The Workers (No. 1)', woodcut, edition c. 50, c. 1935. Signed and titled in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove...

Vintage 14k solid yellow gold ring featuring a tiger's eye centerpiece in a modernist style design. Best fits for a US size 11.75 finger, measures 10.5mm at its tallest points by 3.5...

Three Strand Graduated Pearl Necklace ranging from 7.5mm-4.5mm in size. The clasp is an 18kt white gold clasp with a 13mm round scallop style...