Wisconsin

Unique Mid-Century Modern Porter Blanchard sterling silver and Lucite handle flatware set. This set includes: 7 knives, 8 1/4" 9 dinner forks, 8 1/4" (one has cracks in Lucite) 7 sa...

Beautiful Sea Rose By Gorham sterling silver Flatware set, 63 pieces. This pattern has a flowing modern design and was designed by Richard L. Huggins in the year 1958. This set inclu...

ALEXANDER McQUEEN S/S 2010 “Plato's Atlantis” Kaleidoscope Dolman Sleeve Dress Brand / Manufacturer: Alexander McQueen Collection: S/S 2010 Style: Dolman sleeve bodycon dress Color(s): Shades of blue, purple, green, and white Lined: No Marked Fabric Content: 100% Cupro Additional Details / Inclusions: Alexander McQueen S/S 2010 “Plato’s Atlantis” dolman sleeve bodycon dress. Dress is a super stretch thin knit. Dark navy blue base/background with purple, white, light blue, and green design atop...

A pair of platinum genuine earth mined Australian opal stud earrings with diamond halo. The pear cut opals measure about 6.5mm x 4mm and have lively play of color with all colors inc...

Lovely Juliana by Watson sterling silver flatware set of 57 pieces. This set includes: Eight knives, 9". Eight forks, 7 1/4". Eight salad forks, 6 1...

Shell & Thread was first introduced by Tiffany in 1905. Its design is typical of patterns made in England during the long reign of King George III. The raised-border edges, which acc...

"Lithographie Originale V" is an original color lithograph by Joan Miro, published in "Miro Lithographs IV, Maeght Publisher" in 1981. It depicts Miro's signature biomorphic abstract...

Floral by Tiffany and Co., patented in 1884, silverplated Individual Fish set with repousse design - 24 pieces. This set includes: 12 flat handle fish knives, 8" 12 fish forks, 6...

Framed 25.75 x 31.88 in No. 992 in the Catalogue Raisonne of Chagall's lithographs Framed with museum-quality archival materials, including museum glass which filters out 99% of ha...

Spanish Baroque by Reed & Barton sterling silver flatware set of 44 pieces. This set includes: Eight knives, 9 1/4", eight forks, 7 3/8", eight salad forks, 6 1/2", eight teaspoons, 5 7/8", eight place soup spoons, 6 3/4", one serving spoon, 8 5/8", one sugar spoon, 6 1/4", one hollow handle master butter, 7", one pie server, 10 1/2" All pieces appear unused and are still in factory sealed bags. Includes bonus brand new storage chest - styles vary. Excellent condition, not monogrammed. This set will be beautifully professionally polished and sealed in plastic sleeves prior to shipping. Reed & Barton's regal Spanish Baroque sterling...

14K white gold filigree ring featuring an European cut diamond weighing about 1/2 carat. The diamond has VS2 clarity and I-J color. It measures about 4.8mm. The antique diamond is set in a delicate domed filigree mounting...

ALEXANDER McQUEEN SS 2009 Iconic Crystal Skeleton Kaleidoscope Print Oversized Clutch Bag Brand/Manufacturer: Alexander McQueen Collection: Spring Summer 2009 "Natural Dis-tinction,...

Vintage Emilio Pucci c.1950's two-piece beige floral signature print shirt gathered skirt set. Multi-color tribal floral signature print in shades of orange, pink, and brown on beige wool. Mandarin collar shirt...

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

Arthur Price is the UK's most desired cutlery brand with a reputation for unparalleled quality, craftsmanship and design since 1902. Outstanding monument...

Joan Miró produced this original color lithograph especially for Rafael Alberti's text 'Maravillas con Variaciones Acrósticas en el Jardín de Miró' (Wonders with Acrostic Variations ...

HERMES A/W 2017 Dimitri Rybaltchenko “Space Shopping Au Faubourg” Silk Scarf Brand/Manufacturer: Hermes Collection: A/W 2017 Designer: ...

The Parisian silversmith Puiforcat is regarded as one of the legendary names in European silver craftsmanship. Superb Dinner Size Empire by Puiforcat 800 silver flatware set, 99 pie...

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...

ALEXANDER McQUEEN S/S 2013 Black Gold Sparkle Honeycomb Textured Arched Heels Brand / Manufacturer: Alexander McQueen Collection: S/S 2013 Designer: Sarah Burton Style: High Heel Shoe Color(s): Shades of black, gold Unmarked Fabric Content (feel of): Suede (interior back), textured material (exterior) Additional Details / Inclusions: Alexander McQueen S/S 2013 sparkle textured pumps. Heels with narrow sole, rounded toe. Platform underneath vamp of shoe. Honeycomb strap detail over vamp of shoe. Intersecting honeycomb strap detail over shank of shoe; follows onto back of heel. Black and gold crystalized...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

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...

Alan W. Adler (May 8, 1916 - December 3, 2002) His clean, unadorned and well-crafted style was strongly influenced by the traditional work of early American silversmiths and the con...

This 10' x 14' hand-knotted abstract wool rug showcases a dynamic composition of cascading circles and sweeping linear forms that create a mesmerizing sense of movement and depth. Re...

EMILIO PUCCI c.1960’s Green Blue Op Art Signature Print Sheath Dress Circa: 1960’s Label(s): Emilio Pucci Style: Sheath Dress Color(s): Shades of green, blue, purple, white and bl...

ALEXANDER McQUEEN S/S 2000 “Eye” Star Embroidered Aesthetic Denim Cutout Jacket Brand / Manufacturer: Alexander McQueen Collection: S/S 2000 “Eye” Designer: Alexander McQueen Style:...

"The Celebrated Clipper Ship Dreadnought" is an original hand-colored lithograph by Currier & Ives. It depicts a sailing ship. 13 1/4" x 17 1/2" art 19" x 23 1/2" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Art: 30" x 24" Frame: 36.50" x 30.50" Oil on canvas signed and dated lower right.

"Promenade sous les Arbres (Walk under the Trees)" is an original color lithograph by Francois Batet, signed in the lower right and numbered in the lower left. At the center of the p...

One of Durgin's most popular and beautiful patterns is "Chrysanthemum". The design is of leaves and chrysanthemum buds and blooms on the front. The back displays two chrysanthemums in bloom among leaves and buds. The chrysanthemum flowers flow down beautifully onto the tines, bowls and serving areas of many of the pieces. Chrysanthemum by Durgin...

ALEXANDER McQUEEN S/S 2009 “Natural Dis-tinction” Crystal Kaleidoscope Drape Top Brand / Manufacturer: Alexander McQueen Collection: S/S 2009 “Natural Dis-tinction, Un-natural Selec...

"Eve Incurs God's Displeasure" is an original double sided lithograph by Marc Chagall. On recto the print features the biblical story of Eve being scolded by God for her sin in the G...

Industrial conveyor belt, room screen, made of pine wood slats connected by riveted leather straps. Circa 1940s. We imagine this belt was used during the war years (1941-45) and may ...

GIVENCHY Couture A/W 1998 ALEXANDER McQUEEN Ruby Red Wool Knit Fitted Button Front Dress Circa: 1998 Label(s): Givenchy / Couture / Made In France / Paris / 8HG 8520152830 Desig...

Vintage Pierre Cardin early 1960's aquamarine blue raw silk knife-pleated shift dress with belt designed in Paris for Miss Bonwit. Banded bateau neckline. Sleeveless. Shift style. Ba...

Escada Margaretha Ley c.1990's two piece floral print silk tie front blouse skirt suit set; New with tags. Multi-color bold floral print in shades of red, pink, and orange on yellow ...

ALEXANDER McQUEEN A/W 2009 “The Horn Of Plenty” Dogtooth Print Knit Sweater Top Brand / Manufacturer: Alexander McQueen Collection: A/W 2009 “The Horn Of Plenty” Designer: Alexan...

Outstanding monumental Sterling Silver German flatware set with timeless design - 170 pieces. This set includes: 12 dinner knives, 9 1/4" 12 dinner forks, 7 3/4" 12 luncheon/dessert knives, 7 3/4" 12 luncheon/dessert forks, 6 5/8" 12 salad forks, 6 7/8" 12 small teaspoons, 5 1/2" 12 place spoons...

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...

"Fast Trotting in the West (Milwaukee Race)" is an original hand-colored lithograph published by Currier & Ives. It depicts two horses pulling racing carts. The text below the picture reads "Fast Trotting in the West...Lucy and Goldsmith Maid...trotting their closely contested race over the cold spring course Milwaukee, Wis. Sept. 6th 1871...Where Goldsmith Maid won the 2nd heat in 2:17!! The fastest Mile heat in harness on record. Purse $4000 $2500 to 1st $1500 to 2nd horse____ 8 in. in harness. TIME 2:20 1/2 2:17 2:20" 16 3/4" x 26" image 22" x 27 3/4" paper 35 3/4" x 41 7/8" frame Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders...

Tiffany's luxurious Chrysanthemum silver was designed in 1880. With its flowing curves, swirling vegetation, meandering tendrils and exotic blossoming plants, Chrysanthemum is charac...

ALEXANDER McQUEEN Pre-Fall 2006 Black Two Piece Lace Jacket Skirt Suit Set Brand / Manufacturer: Alexander McQueen Collection: Pre Fall 2006 Designer: Alexander McQueen Style: Jacke...

"Un Apres Midi au Champs de Courses" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (11/200) in the lo...

'New Orleans Streetscape" is an original watercolor painting by William Collins. It features a view of a street in New Orleans,. Tall houses with large...

"The Walk" is an original lithograph on sommerset paper signed in pencil and inscribed to David Barnett. It is edition 68/75 and depicts a young boy in a striped shirt holding onto a...

Delafosse by Christofle silver plated flatware set of 137 pieces. This set includes: 12 dinner size knives, 9 3/4", 12 dinner size forks, 8 5/8", 12 luncheon knives (some blade we...

This is a sofa, suited for your on point, stylish, cutting edge setting. It's shape is sculptural and the leather grain is phenomenal quality. The leather grain in beautiful, soft bu...

Beautiful Medallion by Cassetti sterling silver flatware set of 43 pieces. This pattern features a plain front and a medallion on the reverse. The pieces are large and heavy. This se...

Da Vinci Engraved by Reed & Barton, circa 1967, Sterling Silver flatware set - 78 pieces. This set includes: 12 knives, 9 1/8" 12 forks, 7 1/2" 12 salad forks, 7" 12 teaspoons, 6 ...

Original color woodcut 3.88 x 3.75 in (9.86 x 9.52 cm) Framed 15.75 x 15.69 in #134 in the catalogue Raisonné of Kandinsky's Graphic Works by Hans K. Roethel

Couture HUBERT de GIVENCHY c.1980’s Green Black Blazer Skirt Suit Set Numbered Brand / Manufacturer: Givenchy (couture / numbered) Circa: 1980’s Style: Skirt and Jacket Set Color(s...

Spanish Lace by Wallace sterling silver flatware set of 46 pieces. This set includes, 8 knives, 9 1/4" 8 forks, 7 5/8" 8 salad forks, 6 3/4" 8 teaspoons, 6 3/8" 8 place soup spoons,...

Rare multi-motif floral Majestic by Alvin circa 1900 sterling Silver flatware set - 93 pieces. This set includes: 12 Dinner Size Knives, 9 7/8" 12 Luncheon Forks, 6 3/4" 12 Sala...

El grandee by Towle sterling silver flatware set 32 pieces. This set includes: eight knives, 9", eight forks, 7 1/2", eight salad forks, 6 3/4", eight ...

Debussy by Towle sterling silver Flatware set, 66 pieces. This set includes: 12 knives, 9" 12 forks, 7 1/2" 12 salad forks, 6 1/2" 12 teaspoons, 6" 1...

"Lautrec Book: From Au Pied du Sinai written by Georges Clemenceau" lithographs created by the legendary Henri de Toulouse-Lautrec. This book, Au Pied...

DIANE VON FURSTENBERG c.1970's DVF Abstract Print Silk Jersey Iconic Wrap Dress Circa: c1970s Label(s): Diane Von Furstenberg / Neiman Marcus Exclusive Style: Wrap dress Color(s)...

Brand / Manufacturer: Roberta Di Camerino Circa: 1960s Designer: Roberta Di Camerino Style: Longsleeve turtleneck dress Color(s): Shades of blue, white, black Lined: No Unmarked Fabr...

Vintage Emilio Pucci exclusively for Saks Fifth Avenue c.1968 "Celletti" print silk jersey shift dress. Multicolor geometric print in shades of brown, gray, peach, and black with a s...

ALEXANDER McQUEEN S/S 1997 “La Poupée” Black Wool Illusion Cutout Cocktail Dress Brand / Manufacturer: Alexander McQueen Collection: S/S 1997 “La Poup...