South Carolina

A fantastic pair of Italian gold gilt camel figurines. Marked Italy on the felted base. One of the camels has some damage to the lower neck. This is pho...

Italian Neoclassical decorative figural and foliage gilt bronze hanging hall lantern with beaded rope borders, three light interior cluster, and resting on scrolled figural foliage f...

Vintage pair of planters, strikingly similar to Villeroy and Bach’s Acapulco line of dinnerware. There is some chipping to the paint but there are still plenty of colors and patterns...

17th century Italian gold leaf fragment with pyrophyllite in matrix and decorated with baroque pearls. This fragment was originally a candlestick from a church in Italy. The pyrophy...

An exceptionally rare 19th century Haitian French Colonial Cedrela day bed, circa 1830, featuring original label and hand-carved Regence style head and foot boards. This is one of th...

English classical Federal gilt carved wood and gesso wall mirror with flying angelic figures, chariot, warrior and lion motif, Corinthian fluted side columns and original three panel...

This is a charming little 1950's Majolica lemon salt and pepper shaker. This is a little whimsical little tree design that holds the lemons on top. This was made in Japan and has gre...

Pair of American brass port and starboard ship lanterns with flanking ringed vented domes, hinged doors, rear mounting brackets, and original colored red & blue Fresnel lenses. Lante...

English five drawer Hepplewhite tambour writing desk with fitted interior, satinwood string inlay, original brasses, and terminating on satinwood...

"A dark horse rearing up with stone formations and low clouds in the background In this black and white image, a mysterious dark horse rears up with unbelievable, otherworldly sands...

Otto Kuhler, 'Grand Central Station', etching and drypoint, 1927, edition c. 50, Kennedy 27. Signed and titled in pencil. A superb, richly-inked impression, in brown/black ink, with ...

English mahogany folding campaign desk with fitted leather interior consisting of document pouch,original ink well, quill box, writing surface, a...

Komodo's luminous, shimmering finish creates glamour and drama with an opulent edge. This pattern is also available in 54" (137 cm) width. • Sold in 10 yard increments. • Matc...

Wood engraving, 1930, edition small, Physick 642 / 643. Initialed in pencil. Two blocks printed on a single sheet: fine impressions on cream laid Japan with full margins (1 1/2 to 2...

Rare pair of Austria blown glass and bronze hanging bell jar hall lanterns, Signed R. Ditmar Wien, Austria. Mid 19th Century

The Tiffany & Co. Gene Moore Sterling Silver Enamel Circus Acrobat on a Plinth is an exquisite representation of both balance and artistry, crafted with the utmost attention to detai...

Hyman Warsager, 'Color Abstraction of Pyramids and Temples of Mexico', acrylic and oil pastel, c. 1960s. Initialed in pencil, lower right. A spontane...

Large scale oak English mid 19th century trolley

American walnut desk chair with carved scrolled rails, vase formed shaped splat back, scalloped carved skirt, carved shell on knee, and terminatin...

'Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards...

Step into the world of timeless elegance with the Hermes Vintage 1970s Chaine D'Ancre 18k Gold Cufflinks. These exquisite cufflinks, crafted in the 1970s by the renowned French luxury house Hermes, embody a perfect blend of sophistication and craftsmanship. The cufflinks feature the iconic Chaine D'Ancre (Anchor Chain) motif, a symbol synonymous with Hermes's legacy of luxury and style. Meticulously crafted from lustrous 18k gold, the intricate chain links showcase the brand's commitment to exceptional quality and attention to detail. The design of these vintage cufflinks exudes a classic yet contemporary charm, making them a versatile and timeless addition to any gentleman's wardrobe. The richness of the 18k gold elevates the cufflinks to a level of luxury that is synonymous with the Hermes name...

Sculptural Sacred Heart - 18th century Italian sunray mounted on a yellow hematoid heart and adorned with yellow crystal quartz points. The piece is inspired by "The Sacred Heart" in...

The Yakisugi Block is a piece designed to offer both beauty and versatility. It’s meant to be the perfect accent piece, and can be used as a side table, stool, or accent piece as ne...

French Baccarat dore' bronze and crystal scrolled arm chandelier with hanging foliage crystal prisms, central bulbous fluted crystal column, gilt bronze fluted candle cup bobèches, ...

Pair of John Gould hand colored framed lithographs family of toucans. "Pteroglossus Inscriptus" and " Pteroglossus Hypoglaurus" Each signed in plate. Printed by Charles Hullmandell. ...

18th century Italian gold leaf sunray mounted on a blue celestite sphere and wrapped in perfectly coordinating blue preserved coral. The 18th century gold leaf sunray was once a par...

1940's Grosfeld House Style Feathered Arm Lounge/ Fireside Chair. Previously reupholstered in a cheetah print. Fabric is still in very good condition. Excellent bedroom chair!

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

Keith Richards swimming at the Villa Nellcote Taken by the late photographer Michael Cooper. Edition of 25 Estate Stamped

Pair of vintage 1970s etageres / cabinets with a spotlight in the top and two glass shelves below the light. Behind the double doors are two shelves. The...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) 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 crowned...

Wonderful George III Style mahogany hand dovetail two part sampler chest on chest made in Jamaica. This Chippendale style chest on chest...

Pyrite mineral specimen. It is an usually large piece of pyrite and very rare to come by in this size (130 lbs / 59 kg). Pyrite, also called iron pyr...

19th Century French Iron Garden Urn with an embellished, scrolled handles in leaf and flower decor. Large wide rim with scalloped egg and dart pattern - on square base.

"Hush" The delicate nature of this image encompasses the otherworldly appeal of the Camargue horses in this best-selling black and white photograph. The print series Band of Rebel...

French mahogany marble top chest with graduated book matched drawers, original gilt floral ormolu mounts, and terminating on rounded block feet. Early 19th Century

This pillow features Loudon Rose Fabric (Item# 179630) with a self welt finish. A romantic, painterly quality infuses this rose bouquet with an unmistakabl...

This fine Cartier diamond and platinum engagement ring is a stunning piece of jewelry crafted by the renowned luxury brand, Cartier. This exquisite ring is designed to symbolize the ...

Sculptural 18th century Italian cross with fossil agate coral and mounted on fossil coral. The fossil agate coral and fossil coral are put together with the 18th century cross to lo...

Boris Lovet-Lorski, Untitled (Nude with Horse), lithograph, edition 250, 1929. Signed and numbered 10 in pencil. Number 10 of Volume 1, a series of 10 ...

Zena Kavin, 'Victim of Misfortune and Folly, lithograph, c. 1935, edition 20. Signed, titled, and numbered '17/20' in pencil. A fine, richly-inked impression, on cream wove paper, wi...

Gabriel Morera (Venezuela, 20th Century), Untitled, Box, Mixed Media, unsigned, blue and orange painted handled case, opening to a divided interior with colorful Lucite cubes, mirror...

A Vintage Tiger Ace Airplane Lamp by the Sarsaparilla Company of New York. The Sarsaparilla Company of New York manufactured Deco Design pieces in the 1970s and 1980s. Many of their...

Titled "Courage at Calvary" 18th century Italian figure of Christ mounted on an 18th century corona (crown) fragment with antique hand-forged nails and citrine points. The missing l...

Two early 20th-century Vienna Secessionist, male nude cornice drawings. Graphite on pale blue/grey wove drawing paper, spot glued by the artist to ...

The Diamond Fireworks Earrings are a striking and luxurious accessory, designed to captivate with their radiant brilliance. Crafted with pre...

American walnut plantation stand with a two board squared top, squared carved skirt, and terminating on squared tapered splayed legs. All original. Early 19th Century.

"Black Diamond" This award-winning image is a fashion-inspired portrait of an elite horse wearing the attire of his discipline. The print series Equus: Light & Form focuses on the...

A very fine Antique English early 19th century Geo. IV period pierced brass fireplace fender with traditional "ivy" pierced motif and a nice gadroon or rope type central bolster. Ima...

The Breitling Aviator 8 Curtiss Warhawk Automatic Chronograph 43mm Watch is a striking tribute to aviation history, inspired by the legendary Curtiss P-40 Warhawk fighter plane. This...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, 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 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 Phillips...

Vintage Murano glass lamp from Donghia with brass hardware, hollow and handblown. Wabi-sabi is the philosophy that nothing is perfect. It is finding beauty in the imperfect and asymm...

Kipp Stewart and Stewart MacDougall for Drexel “Declaration” Drop Leaf Drexel "Declaration" 851-313 This rare and stunning space saving table can be used as a sofa table then turne...

Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...

Elegant pair of 19th century French settees/banquette in Louis XVI style. The painted frames richly carved; the top gracefully curved, the seat rails and the fluted legs with florets...

Draping in exquisite splendor, these Tiffany & Co. Aquamarine Diamond and Platinum Chevron Fringe Chandelier Earrings are a testament to the artistry ...

A sumptuous take on a design that debuted in the 1970s, this wide-width, screenprinted cloud pattern has unique depth and an ethereal, mural-like effect. Since Schumacher was found...

This Important Monumental Regal Irish Georgian carved mahogany granite slab console / hall table was made in the early 19th Century. A most impressive Cla...

Villa is a panel design that instantly creates the look of a tented room. Its scalloped border and chic painterly tassels add instant personality to a room. Tenting ends at 53 ½”. P...

A pair of walnut and glass Pearsall side tables known to the profession as the "Jax Table" because of their close design reminiscent of the jax and ball game. This set was,manufactur...