South Carolina

"""Rising Sands"" Beautiful black and white image of sand dunes with a ripple effect from the wind The ripples created by the wind highlight the incomparable design of mother natur...

American mahogany marble top console with gilt stenciling skirt, flanking ormolu mounted mahogany columns, and terminating on the original gilt carved floral melon bulbous feet. Cons...

One of the largest super tusk elephants on Earth surrounded by other large bulls The largest super tuskers are usually flanked by their soldiers. These younger bulls are eager to pr...

Harry Bertoia, Untitled (Abstraction), monotype, c. 1960, a unique impression. Signed 'HB' in pencil, lower right sheet corner, verso. Inscribed '1852' (the artist’s inventory number) in pencil, lower right sheet corner, recto. A superb, painterly impression, on cream wove Japan paper, the full sheet, in excellent condition. Unmatted, unframed. Sheet size 12 x 39 inches (30 x 99 cm). Provenance: Val Bertoia; Private Collection; Rago Auctions, Lambertville, NJ. Literature: 'Harry Bertoia: Monoprints,' Nancy N. Schiffer, Schiffer Publishing LTD, 2011; pg. 253. This work is included in the Harry Bertoia Foundation digital resource, Harry Bertoia Catalogue Raisonné, number TD.MO.1584. ABOUT THE ARTIST Harry Bertoia (1915-1978) was a visionary Italian-American artist, sculptor, and designer. Born in San Lorenzo, Italy, Bertoia immigrated to the United States with his family at age fifteen, settling in Detroit, Michigan. From an early age, Bertoia demonstrated a keen interest in art and design, studying painting and drawing at the Cass Technical High School in Detroit. Later, he attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he studied under renowned designers Eliel Saarinen and Charles Eames. At Cranbrook, Bertoia first began to explore the possibilities of working with metal, a medium that would come to define his artistic career. In the 1940s, Bertoia moved to California to work for Charles and Ray Eames, contributing to the development of innovative molded plywood furniture. However, his experimentation with metal wire sculpture would ultimately catapult him to international acclaim. Bertoia's iconic "Sonambient" sculptures, consisting of delicate metal rods arranged in various configurations, created ethereal sounds when touched or moved, transforming the act of sculpture into a multisensory experience. Bertoia's talent and innovation caught the attention of Florence Knoll, the founder of Knoll Associates, a leading furniture design company. In 1950, Bertoia began collaborating with Knoll, producing a series of iconic wire chairs that became emblematic of mid-century modern design. His "Diamond Chair," with its geometric form and airy construction, remains a classic of modern furniture design. Bertoia continued to explore sculpture as a means of artistic expression, experimenting with new forms and materials. His work was characterized by organicism and fluidity, with forms that evoked natural phenomena such as waves, leaves, and clouds. A decade before Harry Bertoia began creating three-dimensional sculpture, he dedicated his creative efforts to producing experimental prints at the Cranbrook Academy in Bloomfield Hills, Michigan, pursuing a passion that would continue for the rest of his life. With these spontaneous works, he worked intuitively, testing different tools and techniques to achieve his desired effects. Rather than using a traditional mechanical pressing process, he would apply ink to a glass or smooth Masonite plate with a sheet of paper laid directly on top. Then, tools such as brayers, dog hair brushes, styluses, and different parts of his hands were employed to draw or “press” the images on the back of the sheet. Rice paper was typically used due to its semi-translucent nature, offering Bertoia limited visibility of the effects of his experimentation, but ultimately, the unpredictable nature of the process was an integral aspect of the results, which never ceased to delight him. Each work was a singular composition with abstract imagery ranging from linear, structural compositions to fantastic surrealistic forms to poetic tonal landscapes. He received little input from other artists, developing his unique vision with rare purity and a deep personal resonance. From his first year of printmaking in 1940, Bertoia quickly amassed an extensive collection of unique works. The compositions were strongly tied to the non-objective movement, which, while popular in Europe, was still in its nascent stages in the US. There were few proponents of this new art form to be found in the 1940s, and it was Hilla Rebay, then Director of the Guggenheim Museum of Non-Objective Art, who gave Bertoia the encouragement and promotion he needed. In 1943, Bertoia sent approximately 100 monotypes to Rebay for review. After receiving the prints, she responded with a surprising offer to buy them all. Rebay then began including them in the museum’s exhibitions. The Guggenheim shows succeeded in putting Bertoia’s name out into the world. He began exhibiting his works regularly at the Neierndorf Gallery in New York and was provided a stipend to ensure a steady supply of prints until Karl Neierndorf died in 1947. By the 1950s...

Epic, close up portrait of a single American bison in Yellowstone National Park An intimate, awe-inspiring portrait of a snow-covered bison in the Winter in Yellowstone National Par...

Benton Spruance, 'Nero', 2-color lithograph, edition 35, 1944, Fine and Looney 233. Signed, dated, titled and annotated 'Ed 35' in pencil. Initialed 'BS' in the image, lower right. A...

circa 1800s - Could be earlier either from a church or otherwise a sword coffer. Lovely dry condition and color. Would make a lovely bench/chest at the end of the bed or entryway. Ve...

"Sanctuary" This award-winning, best-selling image highlights the surreal relationships within mother nature. The print series Dunes: Landscapes Evolving documents the magnificent...

"In Sync" The iconic super yachts Lionheart, Ranger, Rainbow, and Velsheda appear to work together to create a pattern where there was none in this timeless and classic black and white photograph...

"Lapis at Dusk" Young Mundari boy looking at the camera and holding a stick among the long-horned cattle in the cattle camp on the banks of the Nile In these scenes of life from South Sudan, experience the surreal, roving camps of the Mundari...

Dazzling ruby and diamond ring set in 10k solid white gold. This is quite an eye catching statement piece! Best fits for a US size 5.75 finger and is stamped 10K R and LG on the inte...

Robert Vale Faro, 'Dialogue Erudite', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '98' and '4/16' in pen. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1/2 to 1 1/4 inch), in excellent condition. Image size 20 1/2 x 14 3/8 inches; sheet size 22 1/2 x 17 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

American Queen Anne cherry flat top highboy with a molded edge cornice, two flanking upper case drawers with a centered fan carved drawer and four low...

Black and white portrait of the back of a young Rendille warrior wearing traditional adornments This warrior in a remote tribal community in Northern Kenya is the epitome of physica...

Rare and Fine Palatial Size Antique English early 19th century Spode Hand Painted Ironstone "Peacock & Peony" Pattern Platter. This pattern was adapted by Spode in the earliest part of the 19th century after a Chinese Export pattern of very similar color and design (originally from the late 18th century). Please note the extraordinary vibrant colors of the peacock as well as the flowers and fabulous border. This pattern, Spode's no. 2118, was originated in 1814 (when it was completely painted by hand) and bears the very first Spode Stoneware mark which is a "Chinese chop...

Ethereal portrait of a leopard on a unique rock formation Leopard on top of a rock formation looking out over the territory beyond the frame Exceptional Creatures is a limited edit...

Large and eye catching 14k solid white gold ring by designer Luxurman. Features dazzling clear, yellow, and blue diamonds, signed on the interior of the band. Best measures for a US ...

'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...

William Ross Abrams, 'The Green Sugarbowl', color woodcut, 1949, edition 24. Signed, titled, dated, and annotated 'Artist’s proof' in pencil. A fin...

"Kisses" Two wild horses share a affectionate moment in an ethereal scene from Sable Island. This is a best-selling image. The print series Discovering the Horses of Sable Isla...

English brass royalty hexagon shaped hanging hall lantern with pierced decorative dome, corner finials, original alternating glass panels with coats of arms, four-light electrified cluster and terminating on a lower decorative pierced concave dome...

This Magnificent 19th century French Empire Eagle Mounted Bronze Gasolier / Chandelier has three Torch decorated lights with Greek Key Trump Shades. This Grand Imperial Chandelier / Gasolier has an elegant two tone Patinated Bronze and Ormolu finish in a Classical Design. The Corona is two-toned and crowned by six Gilt Leaves of which three are Anthemion and three are Fern. Below the Corona is the Patinated Bronze Gasolier pipe with Gilt Bronze Foliate Tulip Cups at the top and bottom of the pipe. The center of the Gasolier pipe has a Patinated Bronze Sphere with three Ormolu Classical Roman Medusa...

Karl Eugene Fortess, 'Tanks & Trees', lithograph, c. 1940, edition 100. Signed, titled, and numbered '100/P' in pencil. Inscribed 'For Usui - K.' in the bottom left margin. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 1/2 inches); a slight crease across the top right sheet corner, well away from the image; otherwise in excellent condition. Image size 13 1/8 x 10 inches; sheet size 17 3/8 x 13 3/16 inches. Matted to museum standards, unframed. Provenance: Estate of Francis Pratt. Francis and her husband Bumpei Usui...

American Chippendale graduated walnut chest of drawers with flanking chamfered corner checkered inlays, drawer front corner fan inlays, central diamond inlaid escutcheons, original o...

Set of American brass urn ringed finial and polished steel fire place tools on stand. Set consist of tong, poker, shovel, and brush. 19th century.

Italian vintage scarf decorated with five 18th century Italian gold-leaf wood motifs, pressed to canvas with a surrounding antique coordinating Italian church braid. This piece is p...

English brass octagon hanging hall lantern with a decorative chased and pierced two tiered bulbous beaded dome, paneled glass with a single hinged door, eight upper floral finials wi...

'Butterfly & 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, unframed. Image size 5 1/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

"Black and white profile portrait of a Friesian horse against a white background Profile portrait of a Friesian horse against a white backdrop This powerful global series explores ...

Jean-Emile Laboureur, 'La Receveuse', engraving, 1919, edition 8, first state of two (artist's proof). Laboureur, Godefroy 190. Signed and numbered '3/8 ép' in pencil. Initialed and...

English Boulle brass inlaid one-drawer inkwell with original fluted glass brass capped ink bottles, decorative floral carrying handle and resting on original chased ball feet, Mid-19...

A loose, stylized wood-grain pattern, Faux Bois adds effortless polish to a room without overpowering it. A hint of iridescence gives it extra panache. Since Schumacher was founded ...

This pillow features Loulou. An elegant abstract design inspired by classic bargello tapestries, Loulou fabric in opal is a textural tour de force that combines several different wea...

Karl Michel, 'Ex Libris Dr. Witropp - Homunculus und Galatee', etching, 1923, edition not stated. Signed, dated, and numbered 'Op. 140' (the artist's inventory number) in pencil. Si...

"Ethereal Friesian horse running with his mane flowing behind him Fashion-inspired black and white image of a Friesian horse against an off-white backdrop with a flowing mane This ...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

'Fish & 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 st...

"Wisdom's Keepers" In this image, a group of elephants appears lined up against a hazy backdrop of fog. It was a perfect yet unexpected scene. Exceptional Creatures is a limited e...

George Andreas Böckler, 'SunBurst Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked...

"At the Start" In this best-selling image, the racing yachts Velsheda, Ranger, and Rainbow wait for the start of a race in Italy. The nautical print series Sail: Majesty at Sea is an intimate look at two revered racing boat classes and their incredible and enduring design as they navigate the open seas. Images from this series are in the permanent collection of the Mariners' Museum, Newport News...

Al Hirschfeld, 'Kris Dancer, Bali', color lithograph, 1941, edition 1,000. Signed in the stone, lower right. A fine, clean impression, with fresh colors, on cream wove paper, the ful...

William Thon, 'Alongside', watercolor, c. 1990. Signed, lower right; titled verso. A fine, expressionist work, on off-white watercolor paper; the image extending to the sheet edges, ...

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...

"Align III" This award-winning image features the braided tail of a white horse. The print series Equus: Light & Form focuses on the details of some of the world’s most elite jump...

"A lone white horse sticks out amidst the herd of darker horses in this black and white image A black and white image of a herd of horses with one white horse among many darker colo...

"Layers of Light" In this award-winning image, Drew was interested in the way the light hit the sand dunes of Sossusvlei, Namibia creating this breathtaking, ethereal scene. The p...

Retired #01004779 Lladro Teaching to Pray Figurine. In excellent used condition

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

Sculptural tree with an 18th century Italian gold leaf miniature helmet and mounted on a calcite and mica mineral. The helmet is hung on a type of dese...

This pillow features Iconic Leopard Fabric (Item# 175722) with a Self-Welt finish. We first introduced this sexy pattern in the 1970s. In 11 versatile colors, it's eternally chic. Pi...

'Fish & 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, unframed. Image size 3 3/4 x 2 1/2 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 13 x 10 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

This pillow features Zinnia Handmade Print (Item# 179340, ZINNIA FABRIC) with a knife edge finish. This meandering mid-scale floral stripe is hand printed on linen and says ‚Äúcharm‚...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

Ian Hugo, 'On Stage', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (3 5/8 to 4 7/8 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 3 7/8 inches (149 x 98 mm); sheet size 15 1/8 x 11 1/8 inches (384 x 283 mm). Ian Hugo originally created "Ten Engravings" in 1945, and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the United States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

"Beautiful white horse looking to the left beneath an ancient archway A black and white image of a white horse in an archway looking at something out of the frame This powerful glo...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

"Untitled 20" In this best-selling, award-winning black and white photograph, a Suri boy elegantly perched in a tree looks over his livestock. The distinctly preserved cultures of...

"Horses stand in front of a sandstone formation with balloons in the backdrop In this black and white image, two bay horses stand next to a sandstone formation with two balloons in ...

"Entranced" A close-up, detailed portrait of an all-white Camargue horse and his bold and expressive profile. The print series Band of Rebels: White Horses of Camargue captures t...

A versatile solid mahogany gate leg cocktail table. Made by one of the premier American furniture makers Baker. A perfect table when you want something not to large but want the opti...