South Carolina

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...

Erté, Romain de Tirtoff, 'Spider Web', serigraph, edition 300, 1980. Signed and numbered 65/300, in pencil. A superb impression, with fresh, rich colors and silver and gold metallic ...

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...

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

This wastebasket has certainly seen better days, but it's aged look definitely adds a vintage feel to the space. Handcrafted. There is a portion of the wastebasket that looks a bit r...

Edouard Benedictus, 'Variations, plate 15' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in th...

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...

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...

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...

Sculptural pink and brown sea fan mounted on a 17th century Italian gilded fragment base with pink mica, amethyst, and agate. The 17th century Italian fragment was originally part o...

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...

'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 ...

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...

"""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...

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...

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);...

Introducing the Tiffany & Co. Schlumberger Baguette Diamond Platinum Triple Band with 18K Gold "X" Accents – an exquisite embodiment of artistic innovation, luxury, and timeless eleg...

Edouard Benedictus, 'Variations, plate 17' 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 5' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the...

"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 ...

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

Ellison Hoover, 'Pulitzer Fountain, Evening', lithograph, circa 1940, edition c. 40. Signed in pencil. A fine, atmospheric impression, on cream wove paper; the full sheet with margins (1 1/2 to 4 5/16 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 12 1/2 x 9 5/8 inches (318 x 244 mm); sheet size 16 1/4 x 12 1/4 inches (413 x 311 mm). ABOUT THE SUBJECT The Pulitzer fountain was commissioned as a bequest by Joseph Pulitzer, newspaper publisher and founder of the Columbia School of Journalism. Designed by Austrian sculptor Karl Bitter...

A pair of 19th-century classic Gustavian chests of drawers with dentil molding beneath the tops and decorative charming carvings on both drawer fronts. locks are functional, with tw...

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...

18th century period Swedish rococo secretary cabinet in two parts with bonnet top, raised panel doors, three shelves, and a notched spoon shelf, The base cabinet with writing surface...

"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...

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...

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...

**Cartier Yellow Gold and Enamel Ladybug Pin Brooch** A charming and highly collectible ladybug pin by Cartier, expertly crafted in rich 18-karat yellow gold and accented with vibra...

Jacques La Grange, 'Racing in a Storm, 1885', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, wit...

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...

Collections of 40 pieces - Pattern name Red Aves / A.74. - Produced during 1974-85 - It was originally designed by Royal Crown Derby in 1936 and produced until 1997. This classic Eng...

John Marin, 'Bridge, Venice', etching, 1907, Zigrosser 59. Signed in pencil. Signed and dated 'Marin 07' in the plate, lower center; titled 'Le Pont Venezia' in the plate lower right. A superb, delicately inked impression, on antique cream laid paper, the full sheet with margins (5/8 to 3/4 inches); slight lightening to the paper within the original mat opening, otherwise in excellent condition. Printed by George Haskell, New York. Matted to museum standards, unframed. Image size 5 x 7 1/16 inches; sheet size 6 5/8 x 8 11/16 inches. Literature: 'John Marin: Peintre Graveur', Charles Saunier, L' Art Décoratif, Paris, January, 1908 (illustrated). 'The Complete Etchings of John Marin', Carl Zigrosser, Philadelphia Museum of Art, 1969 (illustrated). Impressions of this work are in the following museum collections: Art Institute of Chicago (Stieglitz Collection), Cleveland Museum of Art, Fine Arts Museums of San Francisco, Metropolitan Museum of Art, and the Philadelphia Museum of Art. ABOUT THE ARTIST "How to paint the landscape: First, you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape." —John Marin “I would say to a person who thinks he wants to paint, go and look at the way a bird flies, a man walks, the sea moves. There are certain laws, certain formulae. You have to know them. They are nature's laws and you have to follow them just as nature follows them... You don't create the formulae... You see them." —John Marin, conversation with Dorothy Norman...

"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...

"""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...

Rudolph Ruzicka, 'Brooklyn Bridge, N. Y.', 1915, wood engraving, edition 35. Signed and annotated 'd. Sc. imp.' in pencil. Numbered 14/35 in the bottom right sheet corner, in the art...

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...

Cyrus Le Roy Baldridge, 'Peking '25', woodblock print, published 1926. Signed, titled, dated, and annotated 'No 124' in pencil. A fine impression, with fresh, undiminished colors; the full sheet, in excellent condition. Watanabe 6 mm seal, lower right, indicating an impression printed between 1945 and 1957. Archivally sleeved, unmatted. Image size 9 5/8 x 14 5/16 inches; sheet size 10 7/16 x 15 3/8 inches. ABOUT THE IMAGE A 'paifang', also known as a 'pailou', is a traditional style of Chinese architectural arch or gateway structure. It has been theorized that the paifang gate architecture was influenced by Buddhist torana temple gates. Paifang are designed with traditional Chinese architectural motifs including multi-tiered roofs, prominent supporting posts, and gracefully arched openings. This is an unusual ukiyo-e or 'floating world' woodcut published by Watanabe Shozaburo, Tokyo, in that the subject is of an early 20th-century scene in Peking, China. ABOUT THE ARTIST Cyrus Leroy Baldridge...

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

16th century Italian oil painting of Madonna and Child framed with 17th century Italian fragments and adorned with natural-forming amber. The painting is a depiction of the Virgin Ma...

"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...

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...

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 ...

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

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...

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 superb, richly-inked, early impression, in warm black ink, on cream wove paper; the full sheet with wide margins (1 1/2 to 1 3/4 inches). Signed in pencil and dedicated by the art...

"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...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

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...

"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. ...

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...

Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...

Ohtsu Kazuyuki, 'Kyo no Aki - Komyō-ji' (Komyō-ji temple at Autumn in Kyoto), large-scale color woodblock print, ed. 100, 2012. Signed, titled in Japanese, numbered 78/100, and date...

Joseph Fleischmann, 'Whaling' (Hartingers Wandtafeln: Zoologie T. XXXII), monumental vintage color lithograph, 1900. Signed in the matrix, lower right. A superb, beautifully nuanced impression, on cream wove paper, the full sheet with margins (1 1/2 to 2 3/16 inches), in very good condition. Sheet size 28 x 38 1/2 inches (711 x 978 mm). The full sheet, unmounted and unmatted—shipped carefully rolled and protected. Rendering by A. Berger after Joseph Fleischmann. Published by Carl Gerold’s Son, Vienna, 1900. This Artic whaling scene depicts a Greenland whale in the foreground pursued by whalers. A whaling ship is seen in the background and at right, another whale among icebergs with seagulls overhead. The print by Albert Berger...

Polished-face free-forming calcite with a mix of cotton ball and zebra design. This piece is a recent find from a mine in Mexico. The piece is an organic modern work of art that woul...