South Carolina

Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil and with the artist’s red seal. Titled, dated, and numbered '2/200' in pencil. A supe...

Ohara Koson, 'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with ...

Edouard Benedictus, 'Variations, plate 19' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in th...

Edouard Benedictus, 'Variations, plate 9' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the...

Clare Leighton, 'Washing Clothes, Corsica, 1934, wood engraving, edition 60, Boston Public Library 258. Signed, titled, and numbered '20/60' in pencil. A superb, richly-inked impress...

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 and self-printed by the artist. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp. 168–69. Eugene M. Skibbe, “Yoshida Toshi 1911–1999: Diversity, Change, and Continuity in the Yoshida Art Tradition,” Andon, no. 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, Minneapolis Institute of Arts, 2002, pp. 72–80; Woman in Bagdad catalogued p. 91, no. 55. Exhibitions: '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. 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. 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 THIS WORK Woman in Bagdad belongs to an important group of figure studies Yoshida created in 1954 as he moved beyond the naturalistic landscape tradition associated with his father, Hiroshi Yoshida. The veiled figure is reduced to broad, interlocking shapes of deep brown, ochre, and blue-green, separated by narrow carved white lines. Yoshida appears to have printed the composition from a single block, applying individual colors to separately defined areas—a technique closely related to the white-line color woodcut developed by B. J. O. Nordfeldt and the Provincetown Printers and refined by Blanche Lazzell. The continuous white channels serve as both boundaries between colors and an active linear structure, transforming the figure into a near-abstract arrangement of flattened forms while retaining its human presence. Created at a pivotal moment in Yoshida's development, the print anticipates the increasingly nonobjective woodcuts that occupied him during the following two decades. ABOUT THE ARTIST Yoshida Toshi (1911–1995) began training at the age of fourteen under his father, Yoshida Hiroshi, a leading artist of the twentieth-century Japanese printmaking revival known as shin-hanga (“new prints”), which continued the traditional collaborative system of Japanese woodblock printing. From 1932 to 1935, Toshi studied at the Taiheiyo-Gakai (Pacific Painting Association), which his father had helped establish. Before the Pacific War, Toshi traveled extensively with his father in Asia, Europe, Egypt, and the United States. He later continued his international travels, particularly in Mexico, the United States, Canada, and Africa. His early prints remained strongly influenced by Hiroshi's work and the highly refined techniques practiced in the Yoshida studio. Following his father's death in 1950, Toshi assumed responsibility for the studio while increasingly pursuing an independent artistic direction. Beginning in the early 1950s, he undertook a highly personal exploration of abstraction, creating and printing his own works in the sōsaku-hanga (“creative print”) manner, in which the artist assumes direct responsibility for the design, carving, and printing. During this exceptionally productive period, Toshi produced a large body of nonobjective woodcuts characterized by complex geometric structures, richly layered color, and experimentation with the expressive possibilities of the woodblock medium. His abstract work placed him among the more adventurous Japanese printmakers of the postwar period. The British Museum holds a substantial group of these works, including Misty Dance (1957), Frontier (1962), Mystery (1964), Isotope (1968), and Where (1972). In the early 1960s, Toshi also returned to representational subjects, eventually concentrating on large-scale scenes of African wildlife in its natural habitat. In 1984 he published the first of a series of illustrated children's books devoted to African animals (Dōbutsu Ehon Shirīzu), which he continued into the early 1990s. In 1966, with artist Yuki Rei...

Edouard Benedictus, 'Variations, plate 8' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the...

Edouard Benedictus, 'Variations, plate 14' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in th...

Edouard Benedictus, 'Variations, plate 20' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in th...

A Late 19th c. Russian/Baltic Child's Sleigh c.1890, with a Painted Red Finish and Gold Accents. Adorned with Hand Carved Ribbons & Swags, Garlands & Flowers and a Phoenix Bird Perc...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

A pair of fossil agate coral with a coordinating baroque pearls. Fossil agate coral is Florida's state stone and is known for its unique formation that can take place over 20 millio...

"""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...

Roy Lichtenstein, 'Paper Plate', serigraph, 1969, edition unknown, Corlett III.45. Printed in dark blue ink verso, 'Roy Lichtenstein © On 1st Inc. 1969'. A fine impression, on white paperboard pressure formed into a 3-dimensional plate; age toning verso, otherwise in very good condition. Published by Bert Stern, New York. Image size 10 1/4 inch diameter, 1-inch depth. Archivally sleeved, unmounted, unframed. Carefully protected for shipping. Literature: John Russell. 'Art: Time for Old-Master Prints', New York Times (July 27, 1979), p. C16. Jan Howard. 'Reflections on 'The Prints of Roy Lichtenstein', Print Collector's Newsletter 26 (July–August 1995), p. 82. Mark M. Johnson. 'The Great American Pop Art Store: Multiples of the '60s', Art & Activities 123 (June–Summer 1998), ill. p. 37 (color). Mary Lee Corlett. 'The Prints of Roy Lichtenstein: A Catalogue Raisonné', New York, 2002, p. 286, no. III.45. Susan Dackerman, ed., 'Corita Kent and the Language of Pop', exhibition catalog, Harvard Art...

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...

"Speckled Crest" This iconic portrait draws the eye towards this speckled horse's exquisite features. This image has received several awards, including the highest honor of Gold at ...

Warden of the Snow Single bison crossing a winter landscape in dramatic, timeless black & white Otherworldly image of a bison in winter walking across the snow covered tundra with ...

"Trinity" Everything about Sable Island - it's wild landscape and its wild horses - come together in this iconic photograph. Representative of the unparalleled, untamed essence o...

19th century French shop counter with original zinc top over time patinated, painted pine base. While the counter has raised panels on three sides of the case- the back is open compa...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

Edouard Benedictus, 'Variations, plate 1' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the...

'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...

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...

Aerial image of a surfer on a yellow board The aerial perspective lets you appreciate the immense expanse and incredible compositions created by the union of surfer and sea The pri...

Louis Lozowick, 'Steel Valley', lithograph, 1936; edition 15; edition 250 AAA (1942); Flint 141. Signed in pencil, with the artist's monogram in the stone, lower left. A fine, richly...

17th century Italian oil painting of Mary surrounded by cherub angels framed with a 17th century Italian pediment and fluorite, pyrite, chalcedony, jasper, and barite natural specime...

Bernard Brussel-Smith, 'City Scene II', wood engraving, 1949, artist's proof, edition 100. Signed, titled, and annotated 'A.P.' in pencil. A superb, richly-inked impression, on whit...

Stanley William Hayter, 'Green Shade', color etching and scraper, 1963, edition 50, (only 39 printed), B&M 278. Signed, titled, dated, and numbered '1/50' in pencil. A superb, richly-inked, luminous impression, with fresh, vivid colors, on Barcham Green textured cream wove paper; the full sheet with margins (2 3/16 to 3 1/4 inches), in excellent condition. Printed: intaglio black-green, contact lumogen yellow, soft roller phthalo green. Scarce. Image size 15 7/16 x 11 5/8 inches (392 x 295 mm); sheet size 21 1/8 x 16 inches (537 x 406 mm). Matted to museum standards (unframed). Collection: The British Museum 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...

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

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 ...

"Velsheda in Pursuit" As the J-Class racing yacht Velsheda chased Ranger across the sea, the billowing sails created a stark contrast with the water below. This image is in the p...

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed. Very scarce. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and the Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Nicholas Panesis (1913–1967) was an American painter, printmaker, ceramicist, and illustrator whose lithographs of the 1930s rank among the most compelling examples of California WPA printmaking. Working within the traditions of Social Realism and the American Scene movement, he combined expressive draftsmanship with a modernist sense of design to create images of remarkable graphic power that address themes of labor, race, industry, and everyday American life. Born in Massachusetts in 1913, Panesis studied art at Syracuse University before joining the faculty of Alfred University, where he taught ceramics. In the early 1930s he relocated to California, first settling in San Francisco before moving to Los Angeles. There he worked for several animation studios...

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...

"Silent Grace" The gracefulness of the horses of Sable Island is only intensified by their steadfast, silent gaze that draws you in and embrac...

Sculptural 18th century Italian gilded crown base with hand-carved angels and an 18th century gilded angel, angel wing, and sunray with aragonite crystals. The crown was originally p...

"Into the Blue" A surfer excitedly runs into the whitewater lapping the shores on Oahu in search of the perfect wave. The print series Swell: Endless Blue takes you on a sweeping y...

In an iconic scene, elephants of all sizes head towards Kilimanjaro Elephants of all sizes walking along dry lake bed with Kilimanjaro in distance Exceptional Creatures is a limite...

"A Fabled Journey" Iconic print of a cowboy among a herd of wild horses in black and white Black and white image of a single cowboy riding across a dusty landscape among a herd of...

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

Robert Philipp, 'Rehearsal, "Long Day's Journey Into Night" ', color pastel, c. 1957. Unsigned. A fine, atmospheric rendering, on warm gray charcoal paper; a reinforced crease (1/2 inch) across the bottom left sheet corner; otherwise in very good condition. Image and sheet size 17 1/2 x 21 3/4 inches. Matted to museum standards, unframed. Provenance: Art Students League, from the artist’s personal portfolio. ABOUT THE ARTIST Robert Philipp (1895–1981) was a celebrated American Post-Impressionist painter known for his nudes, still lifes, and portraits. Noted art critic Henry McBride named Philipp one of America's top six painters of his generation. Philipp was an instructor of painting at the Art Students League, New York, for 33 years. Philipp was Secretary of the National Academy of Design, a National Academician, and a Benjamin Franklin Fellow at the Royal Society of Arts in London. His composition and painting style has been compared to the art of Edgar Degas and Pierre Auguste Renoir. In 1940, Philipp was invited to Los Angeles by Hollywood producer Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of ‘The Long Voyage Home’, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis Quintanilla...

A lone white horse plays beneath a might Icelandic waterfall A lone white horse enjoys a moment to himself below a mighty waterfall. He appears to be playing, almost invigorated by ...

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

"""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...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

"Caress" Signs of affection on Sable Island between the horses include nuzzling, like in this image here. The print series Discovering the Horses of Sable Island...

A surreal scene of elephants crossing the plains in Amboseli National Park Watching a herd of elephants, typically led by the matriarch, is an incredible and exhilarating sight Co...

An exquisite, large and rare 18th century period Rococo sofa bench with hand-carved and richly decorated in scrolling carvings to three sides, Scraped to original cream white finish and upholstered in traditional way in antique hand stitched linen. Stockholm, Sweden, circa 1760. History of Swedish Rococo Benches...

James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed. Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm). Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000. Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum). ABOUT THE ARTIST “Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.” —Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells. James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University. Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style. Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...

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, richly-inked impression, on off-white Japan paper, 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 collections of: the Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), and the 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...

Mid-Century Modern footed cutting board tray in teak designed by Jens H. Quistgaard for Dansk, Denmark. This versatile piece is the perfect tool for carving and serving featuring a h...

18th century Large chest of three drawers from late Baroque period in richly carved curvaceous serpentine drawer fronts, shaped top and on bun feet in super later patinated paint. La...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

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...

German Black Forrest carved walnut glass eye bear smoking stand supporting an intricately carved scrolled foliage tray with two hinged lidded compartments, brass insert ashtray, wind...

Dolly Parton photographed in New York City in September, 1976. Estate Stamped by photographer David Gahr. Limited Edition photograph of 100 Comes with Certificate of Authenticity.

Dolly Parton photographed in Nashville. 2014. Limited Edition photograph. Signed by photographer Comes with Certificate of Authenticity.

Most 20th century reproduction Breakfront Bookcases are mass-manufactured from veneer over particle board. This one was made by our own proprietary British staff in the 1960's in Sus...

"Wild Spirit" The wild horses on Sable Island instictively know the land as if they were born with knowledge of the island in their DNA. The print series Discovering the Horses o...

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...