Wisconsin

Stunning sterling silver Theodore Starr tea tray. This tray weighs 145.75 ozt., and measures 30 x 19 1/2 x 2 . It features a beautiful scrolling border with an elegant monogram in th...

Gorgeous Spanish provincial gold by Towle sterling silver flatware set, 48 pieces. Gold flatware is on trend and makes a bold statement on your table. This set is vermeil (complete...

This sculpture is a carved wood Harley Davidson motorcycle. It was created by an unknown folk artist and was made in the 20th Century.

Scarce "Donatello" by Stancampiano Italian sterling silver flatware set, 112 pieces. This set includes: 12 dinner knives, 9" 12 dinner forks, 7 5/8" 12 dessert forks, 6 5/8" 12 sala...

ALEXANDER McQUEEN F/W 2001 "What a Merry-Go-Round" Smoke Houndstooth Knit Pants Brand / Manufacturer: Alexander McQueen Collection: F/W 2001 “What a Merry-Go-Round” Designer: Alexa...

Soverign old by Gorham Sterling silver large flatware set of 42 pieces. This set includes: Eight knives, 8 7/8". Eight forks, 7 1/4". Eight salad f...

Vintage Victorian Revival c.1930's bronze floral metal mesh belt. Bronze-tone metal mesh belt has a floral design imprinted on mesh. Buckle is made of three large faceted prong set a...

ALEXANDER McQUEEN S/S 1999 "No. 13" Gray Pleated Open Back Chain Strap Top Brand / Manufacturer: Alexander McQueen Collection: S/S 1999 "No. 13" Designer...

RUDI GERNREICH Harmon Knitwear c.1960's 2pc Raised Knit Solid / Stripe Sweater Skirt Set Circa: 1960’s Label(s): Rudi Gernreich for Harmon Knitwear Designer: Rudi Gernreich Style: ...

ATELIER VERSACE 1999 Black Strapless Boned A-line Front Slit Dress Circa: c.1999 Label(s): Atelier VERSACE Designer: Donatella Versace Style: Co...

ALEXANDER McQUEEN A/W 1999 “The Overlook” Black Gray Knit Turtleneck Poncho Cape Brand / Manufacturer: Alexander McQueen Collection: A/W 1999 “The Overlook” Designer: Alexander McQu...

12 knives, 8 7/8" 12 forks, 7" 12 salad forks, 6 1/2" 12 teaspoons, 5 3/4" 12 flat handle butter spreaders, 5 7/8" Two serving spoons, 8 3/8" One sugar spoon, 5 7/8" Includes bonus...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Beautiful old mirror by Towle sterling silver flatware set of 86 pieces. This set includes: 12 knives, 8 7/8". 12 forks, 7 1/8". 12 salad forks, 6 3/8". 12 teaspoons, 6". 12 cream s...

Classic Bouquet by Gorham sterling silver Flatware set, 65 pieces. The handle design is a bouquet of flowers with pierced and beaded detailing. This set includes: 12 Place Size Kniv...

Massive American Beauty by Shiebler Sterling Silver Flatware set with rose motif - 135 pieces. This set includes: 12 Dinner Size Knives, with blunt plated blades, 10 1/4" 12 Dinner ...

La Scala Gold by Gorham Sterling Silver flatware set - 58 pieces. This set is vermeil (completely gold-washed) and includes: 8 Knives, 9" 8 Forks, 7 1/2" 8 Salad Forks, 6 1/2" ...

Beautiful Dinner Size Lily by Whiting sterling silver flatware set - 60 pieces. This set includes: 8 Dinner Size Knives with French stainless blades, 9 1/2" 8 Dinner Size Forks, 7 5...

Magnificent Austrian succession sterling silver massive candelabrum pair of seven-light figural museum. Each candelabra features a Grecian style ma...

"Erycinids" is an original color lithograph by Louis Prang. It depicts colorful butterflies around a variety of flowers. 5" x 8" art 16 1/2" x 19" framed Louis Prang was an American printer, lithographer, and publisher. He is sometimes known as the father of the American Christmas card. He created L. Prang and Company in 1860 and became successful and known for their Civil War maps...

DESCRIPTION: EMILIO PUCCI Jana c.1960 "Idolo" Signature Print Silk & Leather Top Handle Purse Circa: c.1960 Label(s): Emilio Pucci Bags by Jana Designer: ...

Princess by Towle Remarkable Princess by Towle sterling silver very heavy seven piece tea set marked #7629. This set features crest and shield (see photos), and design of leaves a...

ALEXANDER McQUEEN S/S 2000 Knit Black Cowl Neck Satin Suspender Strap Tank Top Brand / Manufacturer: Alexander McQueen Collection: S/S 2000 Style: Tank top...

Framed 23 x 20 in

Brunello Cucinelli brown genuine crocodile satchel purse. Two singled rolled handle straps. Set in zip top closure with leather zipper pull. Knotted ...

With a dedication to perfection and quality, Christofle flatware creations unite craftsmanship and modern technique, resulting in flatware to be handed down through generations. Pa...

With a dedication to perfection and quality, Christofle flatware creations unite craftsmanship and modern technique, resulting in flatware to be handed down through generations. Exc...

"Musee National d'Art Moderne" is a po ster by Victor Brauner for an exhibition of his work in Paris. It features abstracted heads in yellow, orange, and blue, with a border in pastel pink, green, blue, and yellow. It is framed with gold moulding. 33 1/2" x 19 5/8" art 40 1/2" x 26" frame Victor Brauner was born in Piatra Neamt, in 1903, and died in Paris, in 1966. He was the son of a timber manufacturer from Piatra Neamt who settled in Vienna with his family for a few years. It is there that young Victor attended the elementary school. When his family returned to the country (1914), he continued his studies at the evangelical school in Braila; he began to be interested in zoology in that period. He attended the Art School in Bucharest (1919-1921) and H. Igiroseanu’s private school of painting. He visited Falticeni and Balcic and started painting landscapes à la Cézanne. Then, as he testified himself, he went through all the stages: "Dadaist, Abstractionist, Expressionist". On September 26, 1924, the Mozart Galleries in Bucharest hosted his first personal exhibition. In that period he met poet Ilarie Voronca, together with whom he founded the "15HP" magazine. It was in this magazine that Brauner published the manifesto "The pictopoetry" and the article "The surrationalism". He painted and exhibited "Christ at the Cabaret" (in the manner of Graosz) and "The Girl in the Factory" (in the manner of Holder). He participated to the "Contemporanul" exhibition (November 1924). In 1925 he undertook his first journey to Paris, from where he returned in 1927. In the period 1928-1931 he was a contributor of the "Unu" magazine (an avant-garde periodical of Dadaist and Surrealist conceptions), which published reproductions of most of his paintings and graphic works: "clear drawings and portraits made by Victor Brauner to his friends, poets and writers" (Jaques Lessaigne - "Painters I Knew"). In 1930 he settled in Paris, where he met Brancusi, who initiated him into the photographic art. In that same period he became a friend of the Romanian poet Benjamin Fondane and met Yves Tanguil, who would later introduce him to the circle of the Surrealists. He lived on Moulin Vert St., in the same building as Giacometti and Tanguil. He painted "Self-portrait with a plucked eye", a premonitory theme. In 1933, Andre Breton opened Brauner’s first personal exhibition in Paris, at the Pierre Gallery. The theme of the eye was omnipresent: "Mr. K’s power of concentration" and "The strange case of Mr. K" are paintings that Andre Breton compared with Alfred de Jarry’s play "Ubu Roi", "a huge, caricature-like satire of the bourgeoisie". In 1935 he returned to Bucharest. He joined the ranks of the Communist Party for a short while, without a very firm conviction. On April 7, 1935, he opened a new personal exhibition at the Mozart Galleries. Sasa Pana wrote about it in his autobiographical novel "Born in 02": "April 7, 1935… An exhibition surrealist in character. The catalogue shows 16 paintings; they are accompanied by verses, surrealist images that are exquisite by their bizarreness - they are perhaps the creations of automatic dictation and they certainly bear no connection to the painting itself. They are written in French, but their colorful taste remains in the Romanian translation too. The exhibition brought about many interesting articles and takings of position regarding Surrealism in arts and literature." Another remark about Brauner’s participation to Surrealist exhibitions: "Despite its appearance of abstract formula,… this trend is a point a transition to the art that is to come." (R. Trost, in the"Rampa" of April 14, 1935) In the "Cuvantul liber" of April 20, 1935, Miron Paraschivescu wrote in the article "Victor Brauner’s exhibition": "In contrast to what one may see, for instance, in the neighboring exhibition halls, Victor Brauner’s painting means integration, an attitude that is a social one, as far as art allows it. For V. Brauner takes attitude through the very character and ideology of his art." On April 27, he created the illustrations for Gelu Naum’s poetry collection - "The Incendiary Traveler" and "The Freedom to Sleep on the Forehead". In 1938 he returned to France. On August 28 he lost his left eye in a violent argument between Dominguez and Esteban Frances. Brauner attempted to protect Esteban and was hit by a glass thrown by Dominguez: the premonition became true. That same year, he met Jaqueline Abraham, who was to become his wife. He created a series of paintings called "lycanthropic" or sometimes "chimeras". He left Paris in 1940, together with Pierre Malbille. He lived for a while in Perpignan, at Robert Rius’, then at Cant-Blage (Eastern Pyrenees) and at Saint Feliu d’Amont, where he was forcibly secluded. However, he kept in touch with the Surrealists that had taken refuge in Marseille. In 1941, he was granted the permission to settle in Marseille. Seriously ill, he was hospitalized at the "Paradis" clinic. He painted "Prelude to a civilization" (now in the Gelman collection). After the war, he took part to the Venice biannual exhibition; he traveled to Italy. In 1959, he settled in the workshop on Lepic St. In 1961 he traveled to Italy again. He settled in Varengeville, where he spent most of his time working. In 1965 he created an ensemble of object-paintings full of inventiveness and vivacity, grouped under the titles "Mythologie" and "Fêtes des mères...

This superb 101 piece dinner size 800 silver old Italian (Italy) set is highest Italian quality, large and heavy and includes: 12 dinner size knives, 10". 24 dinner forks, 8 1/4". 1...

ALEXANDER McQUEEN c.2006 Cerise Silk Jersey Draped Ostrich Feather Top Brand / Manufacturer: Alexander McQueen Designer: Alexander McQueen Style: ...

Incredible PAIR of two Mid Century, Brutalist, 1970s Dressers. Very nice looking and functional high quality Brutalist Lane dresser. The drawers catch on rollers, so they do not c...

ALEXANDER McQUEEN S/S 2003 "Irere" Green Stretch Knit Puff Sleeve Button-Up Top Brand / Manufacturer: Alexander McQueen Collection: S/S 2003 "Irere" Designer: Alexander McQueen Style: Button-up top Color(s): Shades of green Lined: No Marked Fabric Content: "100% cotton" (primary material) Unmarked Fabric Content (feel of): Suede (down center front) Additional Details / Inclusions: Alexander McQueen S/S 2003 "Irere" green button-up top. Flowy fabric; lots of stretch or give to material. Form-fitting through bodice. Very deep scoop neckline at front of top; meant to be worn with a separate garment underneath; banding around neckline. Sheer puff sleeves...

Issey Miyake black cotton rib knit detail long sleeve full length coat dress. Square bateau neckline. Drop shoulder. Long sleeves with rib knit panel from shoulder to elbow. Underarm...

GARY GRAHAM 2003 Black Wool Texture Distressed Asymmetrical Maxi Wrap Dress OOAK Brand / Manufacturer: Gary Graham Collection: Dated "7.28.03" Designer: Gary Graham Style: Wrap Dres...

ALEXANDER McQUEEN c.2012 Black Leather Spine Bones Embossed Oversized Clutch Bag Brand / Manufacturer: Alexander McQueen Circa: 2012 Designer: Sarah Burton Style: Oversized Clutch Bag Color(s): Black; Shades of Gold (hardware) Lined: Yes Unmarked Fabric Content (feel of): Leather (exterior); Twill fabric (interior); Metal (hardware) Additional Details / Inclusions: Alexander McQueen circa 2012 Black leather skeletal embossed oversized leather clutch...

Inspired by the master designer, this delicate pattern mimics the graceful, curving leg of an 18th century Chippendale chair. Introduced...

Vintage Pierre Cardin c.1960's gold modernist disc chandelier necklace. Seven varying lengths of gold-toned linked drops. Each drop is made up of textured metal outer rings and polis...

Lily by Whiting. Rare sterling silver Bonbonniere spoon 11 3/4" in the pattern Lily by Whiting. It is monogrammed "F" and is in excellent condition....

Intricately carved floral motifs carefully arranged along the handle and by the neck of this fanciful pattern are balanced by a slender central panel edged with delicate borders. Int...

12 knives 9 1/8", 12 forks 7 1/4", 12 salad forks 6 1/2", 12 teaspoons 6", 12 cream soup spoons 6 3/8", 12 place soup spoons 6 3/4", 12 cocktail forks 5 5/8", 12 flat handle b...

"The Orange Cart, Mazatlan, Mexico" is an original watercolor painting signed and dated in the lower right by artist F. Douglas Greenbowe. It depicts a ...

Beautiful GRANDE BAROQUE BY WALLACE sterling silver Flatware set - 36 Pieces. This set includes: 8 KNIVES, 9" 8 FORKS, 7 1/2" 8 SALAD FORKS, 6 5/8" 8 TEASPOONS, 6 1/4" 1 SERVING SPO...

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ALEXANDER McQUEEN S/S 2009 Iconic Skeleton Kaleidoscope Print Dress 44 Brand / Manufacturer: Alexander McQueen Collection: Spring/ Summer 2009 Style: Sheath dress Color(s): Shade...

Framed 25.75 x 21.75 in No. 286 in the Catalogue Raisonne of Chagall's lithographs This lithograph came from "The Lithographs of Chagall: Volume I" by Fernand Mourlot and Marc Cha...

Rare dinner size Stuart by Whiting (1912) Sterling silver Flatware set, 116 pieces. This set includes: 12 Dinner Size Knives, 9 1/2" 12 Dinner Size Forks, 7 1/2" 12 Salad Forks, 6 1...

Chateau Rose by Alvin sterling silver flatware set, 53 pieces. This set includes: Eight knives, 8 7/8", eight forks, 7 1/4", eight salad forks, 6 5/8", eight teaspoons, 6", eig...

Beautiful Spring Glory by International sterling silver flatware set - 57 pieces. This set includes: 8 knives, 9 1/4" 8 forks, 7 1/4" 8 salad forks, 6 1/2" 8 teaspoons, 6" 8 cream s...

Pampaloni Tuscany, Italy Over a hundred years ago, in 1902, grandfather Pampaloni founded a workshop that would become one of the most prestigious silver factories in Florence, just ...

ALEXANDER McQUEEN A/W 2002 “Supercalifragilistic” Silk Lace Up Pencil Skirt Brand / Manufacturer: Alexander McQueen Collection: Autumn / Winter 2002; “Supercalifragilistic” Style...

Classic Beauty by Frank Smith sterling silver flatware set - 78 pieces. This set includes: 12 Knives, 9" 12 Forks, 7 3/8" 12 Salad Forks, 6 3/4" 12 Teaspoons, 6" 12 Place Soup Spoon...

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Brand / Manufacturer: Alexander McQueen Collection: F/W 2010 Designer: Alexander McQueen Style: Blouse Top Color(s): Shades of gray, white, black Lined: No Unmarked Fabric Content (...

Prelude by International sterling silver flatware set, 114 pieces. This set includes: 12 knives, 9 1/4", 12 forks, 7 1/4", 12 salad forks, 6 1/2", 12 teaspoons, 6", 12 cream so...

'Proud Woman' is an original opal serpentine stone sculpture by the contemporary Zimbabwean artist Chenjerai Chiripanyanga. The artist presents in this sculpture a highly abstracted ...

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An 18K yellow gold fancy figaro chain measuring 24" long with a 14K yellow gold padlock clasp. The padlock opens and additional charms could easily be added to the chain. The necklac...

Alexander McQueen S/S 2007 "Sarabande" sleeveless shift dress. Lavender floral on silver brocade. Sleeveless. V-neckline. Gathered criss-cross detail at bust. Center back invisible z...

DESCRIPTION: EMILIO PUCCI c.1970s Signature Print Silk Chiffon Beach Cover Poncho Scarf Blouse Circa: c.1970’s Label(s): Emilio Pucci; Saks Fifth Avenue Emilio Pucci Boutique Sty...

Irish rib BY JAMES ROBINSON For 70 years, James Robinson has been selling exquisite handmade sterling silver flatware in Sheffield...