South Carolina

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

Superb vintage 14k bloodstone signet ring with a great mid century modern design by Ludwig Fessner Co. This statement piece is great for collectors of classic modernist jewelry. Best...

English lead figural fountain of musical pan with flanking plumbed flutes standing atop a circular globe and resting on an octagonal base with flanking frogs. Mid 19th Century. Fount...

Jesse F. Reed, 'Church at Chichicastenango', color etching and aquatint, 1963. Signed and titled in pencil. Signed and dated in the plate, lower right. A fine, richly-inked impression, with fresh colors, on cream wove paper; the full sheet with margins (1 3/8 to 2 1/2 inches), in excellent condition. Chichicastenango, also known as Santo Tomás Chichicastenango, is a town in the El Quiché department of Guatemala, located in a mountainous region about 140 km northwest of Guatemala City. Chichicastenango is a K'iche' Maya cultural center, with the great majority of the municipality's population indigenous Mayan K'iche. The church depicted is the 400-year-old church Iglesia de Santo Tomás. Built atop a Pre-Columbian temple platform, the steps which remain venerated today, originally led to a temple of the pre-Hispanic Maya civilization. K'iche' Maya priests still use the church for their rituals, burning incense and candles. Each of the 18 stairs that lead up to the church stands for one month of the Maya calendar year. ABOUT THE ARTIST Jesse Floyd Reed (1920-2011) studied art in New York City at the Grand Central School of Art and the Art Students’ League. He held degrees in History and English and completed special advance studies in Asian, African, and Latin American art, history and culture. At the time of his retirement, he was a Professor of the Arts Emeritus at Davis & Elkins College, a position he held for over forty-nine years. A nationally recognized artist since 1947, Professor Reed’s art has been shown in hundreds of museums, libraries, colleges, and universities, including the Boston Museum, National Museum, The Library of Congress, Brooklyn Museum, and Seattle Museum. In his native West Virginia, he is represented in the permanent collections of the Huntington Museum and the Charleston Museum at Sunrise. The recipient of many national and regional awards, Reed was a member of the Salmagundi Club in NY, the Boston Printmakers, the Print Club of Albany, and was a founding member of the West Virginia Water...

Calman Shemi (Argentina/Israel, b. 1939), Musical Notes #9, Painted Steel Wall Piece, 1995, signed and numbered 9/9. Provenance: Purchased from Circle Gallery February 29, 1996. Thi...

American Regency book matched mahogany linen press with a carved molded edge cornice, flanking hinged doors revealing three original interior sliding shelves, three graduated drawers...

Chinese six-panel folding screen with decorative carved forest with standing and flying cranes, with reverse side depicting village and figures of people, terminating on brass square...

Wowzers! This is one sexy and funky set of sofas. Designed by Maurice Villency in the early 1990’s. I personally love the upholstery but if python is too wild for you, these will...

This pillow features Elko Plaid with a knife edge finish. The asymmetrical design and unexpected fringe detailing shows the hand of the maker in this plaid. Pillow includes a feather...

Elegant Silver Plate & Crystal Regency Tent-and-Basket Chandelier / Gasolier with Eight crystal arms, made in England in the mid Nineteenth Century. The Regency Chandelier has a thre...

19th century French Bistro table with round top on guéridon base of tree curved legs ending in scroll feet and joined by central stretcher - all in very interested old patina.

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

Introducing the Cartier Myst Rock Crystal Diamond 18 Karat White Gold Dome Earrings—a mesmerizing blend of modern elegance and exquisite craftsmanship that embodies the mystique and ...

Fritz Eichenberg, 'A Visit to the King of the Waters' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

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...

"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...

Pair of Chinese porcelain decorative painted foliage garden seats with flanking dragons, exotic birds, exterior bead work, and circular fret work, Early 19th century. Each seat measu...

Brevettato bronze and marble candelabras. Vintage Louis XVI Style Brevettato Italian Heavy with Brass, Bronze and Marble, 7 Arms Italian Large Ornate Candelabra Candle Holder/ Candl...

Discover the refined elegance of these 18K Yellow Gold Stud Earrings, a testament to minimalist design and timeless sophistication. Crafted with precision, these earrings embody a su...

Experience the timeless elegance of Hermès with these exquisite Ex-Libris Diamond Drop Earrings, crafted from 18K rose gold. Drawing inspiration from the brand’s iconic equestrian he...

Pair of Italian satinwood hinged demilune cabinets with paint decorated bird, foliage, and basket motif, two interior shelves, original locks with ke...

Howard Cook, 'Taxco Market', aquatint and etching, 1932-33, edition 30, Duffy 181. Signed and titled in pencil. A superb, richly-inked impression, on cream wove paper; the full shee...

The CHAUMET Dandy Automatic Chronograph Watch is a refined blend of Parisian elegance and Swiss watchmaking excellence, designed for the modern gentleman...

Bring a touch of whimsy and artistry to your collection with this sterling silver and enamel Juggling Circus Clown, designed by the legendary Gene Moore for Tiffany & Co. This deligh...

Celebrate refined elegance and rhythmic beauty with the Tiffany & Co. Jazz Diamond and Sapphire Eternity Band, a dazzling piece that captures the harmony of color and brilliance in a...

American brass and flanking decorative foliage finial oval rope fire place fender with a chased molded edge base, early 19th century.

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...

This is a stunning piece of Grupo Gal Sterling Silver and Amethyst in the shape of a pineapple.

Exceptional quality domestically bench made reproduction bookmatched flame or crotch mahogany radially veneered perimeter leaf Regency style circular dining table. 7' (84") diameter ...

"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...

Leon Bibel, 'Untitled (Death March)', brush and ink, c. 1936. Estate stamped, verso. A fine expressionist rendering, on cream wove drawing board, with margins (3/8 to 5/16 inch). Minor toning at the board edges, otherwise in very good condition. Image size 12 5/16 x 9 3/8 inches; sheet size 13 x 10 inches. Matted to museum standards, unframed. One of a series of powerful Anti-fascist brush and ink drawings created by the artist at the commencement of the Spanish Civil War...

Josef Albers, 'Interim' from the series 'Graphic Tectonics', zinc plate lithograph, 1942, edition 30, Danilowitz 101. Signed, titled, dated, and numbered '3/30' in pencil. A fine imp...

The Tiffany & Co. Diamond Platinum 3.7mm Shared Setting Band is a magnificent piece of jewelry that embodies timeless elegance and exquisite craftsmanship. Crafted by one of the worl...

Will barnet, 'Child Reaching', woodcut, 1940, edition 25, Cole 82. Signed and titled in pencil. A fine, black impression, on fibrous Japan paper, with full margins (5/8 to 1 3/4 inch...

English mahogany oval sea captains desk with hinged leather top concealing two upper hidden compartments, single front drawer, original brasses, ebony...

Set of Eight American Mahogany Chippendale serpentine form carved acanthus foliage dining room chairs with intertwined foliage splat backs, upholstered foliage tacked seats, frontal...

Elegant 19th century Swedish Gustavian /Neoclassical period sofa settee, beautifully carved wood frame and scraped to its most original worn patina - with some old paint remnants. Sw...

A stunning mid-century opaline murano bell shaped pendency light with brass details. The glass has a stunning swirl design and its s semi transparent yell...

MCM Style Directors Chairs White Chrome Attr Robert Kjer Jakobsen & Virtue Bros Gorgouse pair of MCM a.k.a. Mid-Century Modern Campaign style sling director’s chairs attributed to Robert Kjer Jakobsen for Virtue Brothers. They are in wonderful vintage condition. The sling’s have the original white leather seats and still maintain their tag on both of the chairs. The chrome x base has been cleaned and polished however there may be slight age appropriate nicks or dings. Please see photos, circa 1960-1970. These chairs will bring a sleek and sophisticated look to any room in your house. They are Campaign style director’s chairs attributed to Robert Kjer Jakobsen for Virtue Brothers. These Mid-Century Modern, circa 1960-1970 The x base is composed of a rectangular tubed chrome steel beautifully polished. They are absolutely stunning and although they are director’s chairs, they will definitely be the main act in any room you put them in! Perfect to use in a sitting room, in the kitchen at a fun little breakfast nook, at a card table or a coffee bar. They are modern style but could bring a little sass to a traditional setting as well. Come to think of it, you need these in your life no matter if your design style leans to Hollywood Regency, Campaign Style, Industrial, or Modern Country, they will be perfect! Robert Kjer Jakobsen was born in Portland, Oregon, on March 8, 1918. From 1949-1985, he was chief designer of the Los Angeles furniture company...

A stunning sculptural Danish 2 seater sofa in the style of Arne Vodder. Teak frame with subtly scooped and curved arms and a base that makes it appear to be floating. The cushions ar...

Black polished abalone shell on obsidian with baroque pearls. Abalone shells are known for their iridescent and pearlescent features. This rare form of abalone has a mostly black o...

Here we have a richly grained walnut king size headboard with 4 inverted slats. A fabulous modern shape and very much in the style of Kent Coffey.

English mahogany two-drawer leather top writing desk with carved molded edge, original brasses and terminating on chamfered tapered legs, Late 18th century. Desk is finished on all ...

"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...

Pair of American cast iron squatting figural andirons of man and woman with original dog legs. Mid 19th Century

American wrought iron free standing fire screen with flanking ball finials, decorative scrolled centered panel with interior lined mesh, tapered supporting columns, and terminating o...

English mahogany bachelors chest on bracket foot with brushing slide c.1790

The Cartier Maillon Panthère Diamond 18k Yellow Gold 5 Row Bracelet is an exquisite example of the Maison's mastery in luxury design and craftsmanship. Crafted in opulent 18k yellow ...

Lou Barlow (Louis Breslow), 'Tenant Farmers', color wood engraving, 1936, edition 25. Signed, titled, and numbered '15/25' in pencil. A superb, richly-inked impression, with fresh c...

Oh boy this dresser is so much cooler in person than the pictures show. 8 drawers with original brass pulls. The dresser was previously refinished but we did strip the handles and ...

American Hepplewhite mahogany one drawer drop leaf pembroke with inlaid birds eye maple oval corners, satinwood string inlays, graduated bell flowers, and terminating on tapered legs...

The Cartier Diamond 18k White Gold Love Bracelet Charm is a stunning, elegant piece that exemplifies the iconic design and luxurious craftsmanship of Cartier. This charm is crafted f...

Postmodern Burled Copper and Chrome Parsons Style Desk/Console Table Ok so I guess technicality this is a single drawer writing desk but I would use it as a console table. So this ...

The Vintage Hermès 18k Yellow Gold Golf Motif Dumbbell Cufflinks are a remarkable example of the brand's commitment to blending timeless elegance with playful sophistication. Crafted...

Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 to 1 3/8 inches), in excellent condition. Very rare. Matted to museum standards, unframed. Image size 8 3/4 x 6 inches (222 x 152 mm); sheet size 11 x 7 1/2 inches (279 x 192 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known 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, and Anne Ryan as New York members and Francine...

English Chippendale mahogany and deil four-poster bed with decorative bulbous, fluted and acanthus carved post, terminating on squared plinths with Marlboro feet. Bed is queen-size w...

Venetian hand blown Opaline Murano six-light chandelier with vibrant pink and blue floral colors, crown canopy, centered bulbous column, scrolled arms with the original crown bobeche...

Boris Lovet-Lorski, Untitled (Profile of an African Woman), lithograph, edition 250, 1929. Signed and numbered 15 in pencil. Number 15 of Volume 2, a series of 10 lithographs publish...

Lynd Ward, 'Judges' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed, dated, and titled in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 1/4 to 2 inches) in excellent condition. Scarce. Matted to museum standards, unframed. Image size 7 13/16 x 4 7/8 inches (198 x 124 mm); sheet size 10 3/4 x 8 1/8 inches (273 x 206 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...