New Arrivals

Here is a etagere/shelf, its black scrolled wrought iron the first thing to catch the eye. The piece dates to 20th Century, sourced from France, and carries the hallmarks of period c...

A flawless 11 x 19 mm pear shaped cabochon of bright Arizona Sleeping Beauty Mine Turquoise is set within an artisan handcrafted matte-finish 18K gold bezel with delicate "spirals an...

–Stone(s)– (1) Natural Genuine Lapis - Rectangular Cut - Bezel Set - Deep Blue Color - 9.4x7mm (approx.) Material: Solid 14k White Gold Weight: 2.39 Grams Ring Size: 6 ( fitted on f...

Beautiful ceramic table lamp by Noomi Backhausen for Soholm, Denmark 1960s. Combined with a custom lampshade made by Rene Houben. The green and brown ceramics with the custom-made s...

Beautiful pair of ceramic table lamp by Noomi Backhausen for Soholm, Denmark 1960s. Combined with a custom made Silk lampshade by R. Houben. With off white inner shade. The green an...

Beautiful ceramic table lamp by Noomi Backhausen for Soholm, model Erika. Denmark 1960s. Combined with a custom made embriodery lampshade by R. Houben, with bronze inner shade. The ...

Pair of beautiful ceramic table lamp by Soholm, Denmark 1960s. Combined with a custom made silk lampshade by R. Houben. With off white silk inner-shade. The beautiful blue ceramics ...

Beautiful ceramic table lamp by Soholm, Denmark 1960s. Combined with a custom made lampshade by R. Houben. The beautiful blue and green ceramics make a stunning combination with the...

Pair of beautiful ceramic table lamps from Soholm, Denmark 1960s. Combined with a custom lampshade. The vibrant ceramic base has a beautiful shape with hand painted waves. The light...

Beautiful ceramic table lamp by Noomi Backhausen for Soholm Pottery, Denmark 1960s. The warm colors of the ceramic with the shade complement each other very well and illuminate beau...

This Art Deco revival engagement ring design features a 1.06-carat old European cut diamond at the center of an enticing emerald halo. The play of color and design is completely sati...

c. 1960s-1970s; Pier 1 Imports, Inc. - Fort Worth, TX Vintage woven wicker and rattan chaise lounge. This piece, an early release by Pier 1, features ...

Solid oak swing-out drawer cabinet featuring seven pivoting compartments, each hinged to open laterally from the left side. The vertical form and compact footprint suggest use in a p...

Four-drawer oak spool cabinet with reverse-painted glass advertising inserts reading "GEORGE A. CLARK / SOLE AGENT / COTTON / SPOOL." These countertop cabinets...

Matched pair of Art Deco armchairs featuring tubular chrome frames, bent plywood armrests, and black vinyl upholstery. A classic of early barber shop and parlor design, these chairs...

Antique oak hardware cabinet. Classic multi-drawer apothecary cabinet featuring solid oak construction with rich medium-brown finish, fifty small drawers with brass label holders an...

Antique low wooden bench with shaped apron. Handcrafted East Asian vernacular bench featuring a single-plank top over splayed round legs joined by mortise-and-tenon stretchers. The ...

c. 1900s-1910s; Browne-Morse Co. - Muskegon, MI Antique oak filing cabinet with five drawers. Featuring five spacious drawers, this piece offers ample storage while showcasing clas...

Spanish Colonial South American Folk Art, Hand-carved and gilded wooden devotional shrine featuring the Virgin Mary, richly framed with ornate scrolling foliage and floral decorati...

Patty deGrandpre’s “Aloha (silver)” is a unique mixed media print depicting a palm tree lined Hawaiian coastline. Applications of block printing ink and digital inkjet are thoughtful...

Patty deGrandpre’s “Roadside Church (somebody’s sanctuary)” is a colorful 14 x 11 inch unique mixed media depiction of a modern church sign along a busy roadside in Texas. The photog...

A stunning 1950s vintage Oversize Sapphire Crystal Bracelet. A fabulous run of six large inky sapphire-blue glass stones set the scene without apology and the cornflour sapphire-blue...

Artist: Robert Patterson (1898 - 1981) Date: 1950s Medium: Acrylic on Board Style/Movement: Realism Dimensions: 21.5" W x 20.5" H Condition: Good vintage condition with scattered sur...

Artist: Robert Cox Date: 1970s-1980s Medium: Oil on Canvas Style/Movement: Contemporary Realism Dimensions: 37.5" W x 37.5" H Notes: Includes artist gallery card. Condition: Good vin...

Artist: Unknown Date: 1970s-1980s Medium: Marker on Paper Style/Movement: Outsider Dimensions: 29" W x 15" H Condition: Presented in a molded wooden frame showing scattered scratches, finish wear, small dents, and edge abrasions. Paper exhibits overall age-related toning, scattered spotting, discoloration, and heavier staining or foxing, particularly along the lower-right portion. Colors remain vivid, with visible marker strokes and minor surface wear consistent with age. Additional Details: Whimsical panoramic barroom scene populated by anthropomorphic ducks, rendered in bold black outlines with saturated yellow, orange, red, green, and blue marker. The lively cast includes fashionably dressed patrons drinking, smoking, conversing, and posing along a tufted bar...

Artist: Mog Young Park Date: Undated (Late 20th Century) Medium: Oil on Canvas Board Style/Movement: Contemporary Figurative / Expressionist Realism Dimensions: 14" W x 18" H Condit...

2004; Pigeon River Pottery - Pigeon Forge, TN Thirty-six-piece dinnerware set in hand-thrown stoneware, produced by Pigeon River Pottery, the long-running Tennessee workshop established by Douglas Ferguson in 1954. The set features a striking multicolor glaze blend of earthy green, slate blue, and warm brown, each piece unique due to hand-dipping and kiln variation. Set Includes: • 8 dinner plates • 8 side plates • 6 bowls (varied sizes) • 6 mugs • 4 handled jugs...

This monumental nineteenth-century Belgian wall mirror is a magnificent and highly detailed example of the prestigious Dinanterie tradition. Executed in the Belgian Historicism and N...

ANTIQUE BUREAU A charming and handsome country made piece that is also a useful storage solution. The fall front top opens onto a plain interior fitted with three small drawers, ab...

19th Century French Majolica Chesnut attributed to Jardinière.

Germany, 1970 Ceramic table lamp with a sculpted pierced base, mottled glaze, and original tall tapered fabric shade with woven trim. 14”dia x 49”h Ref. L5577 $ 4,200

Large vintage model sailboat featuring Columbia, the America's Cup winning yacht. This ship model is built plank-on-frame of linden wood, with a beautifully finished hull. It has co...

Roger Derieux (French 1922-2015) The Stock Exchange, Copenhagen Oil on paper Signed ‘Roger Derieux’ (lower right) 10.1/4 x 11.3/4 in. (26 x 30 cm.), including frame From the artist’s...

Brian Leo Dog from Odyssey with Tennis Ball 2026 Acrylic on canvas 8 × 8 inches In Dog from Odyssey with Tennis Ball, Brian Leo transforms a familiar moment into an intimate portrai...

Artist: Marc Chagall (1887–1985) Title: Moses I (Moise I) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: W...

Artist: Marc Chagall (1887–1985) Title: The Prophet Daniel with the Lions (Le Prophete Daniel avec les Lions) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Si...

Artist: Marc Chagall (1887–1985) Title: Isaiah (Isaie) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well...

Artist: Marc Chagall (1887–1985) Title: The Creation (Creation) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condit...

Artist: Marc Chagall (1887–1985) Title: Paradise I (Paradise I) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condit...

Artist: Marc Chagall (1887–1985) Title: Hagar in the Desert (Agar dans le desert) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 ...

Artist: Marc Chagall (1887–1985) Title: Tamar, Daughter-in-Law of Judah (Tamar Belle-Fille de Judas) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Tamar Belle-Fille de Judas (Tamar, Daughter-in-Law of Judah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical story of Tamar, evoking themes of justice, identity, and moral complexity through his luminous color and dreamlike symbolism. The flowing forms and expressive imagery convey a sense of quiet intensity and narrative depth, capturing Tamar’s pivotal role within the unfolding story and its enduring resonance within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of resilience, consequence, and the intricacies of human destiny. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Tamar...

Artist: Marc Chagall (1887–1985) Title: Ahasuerus Dismisses Vashti (Asuerus chasse Vasthi) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inche...

Artist: Marc Chagall (1887–1985) Title: Cain and Abel (Cain et Abel) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) C...

Artist: Marc Chagall (1887–1985) Title: Rahab and the Spies of Jericho (Rahab et les espions de Jericho) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 1...

Artist: Marc Chagall (1887–1985) Title: Rachel Steals Her Father’s Idols (Rachel derobe les Idoles de son Pere) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Rachel derobe les Idoles de son Pere (Rachel Steals Her Father’s Idols), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical episode in which Rachel secretly takes her father’s household idols, evoking themes of identity, defiance, and spiritual transformation through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of tension and quiet determination, capturing the narrative’s emotional complexity and symbolic resonance within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of transition, belief, and the shifting boundaries between past and future. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Rachel...

Artist: Marc Chagall (1887–1985) Title: Ruth at the Feet of Boaz (Ruth aux pieds de Booz) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Ruth aux pieds de Booz (Ruth at the Feet of Boaz), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical moment in which Ruth lies at the feet of Boaz, evoking themes of humility, devotion, and destiny through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of intimacy and quiet revelation, capturing the emotional and spiritual significance of the encounter within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of faith, grace, and providential union. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Ruth...

Artist: Marc Chagall (1887–1985) Title: Job in Despair (David sauve par Michal) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Job En Desespoir (Job in Despair), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical figure of Job in a moment of profound suffering, evoking themes of anguish, endurance, and spiritual trial through his luminous color and dreamlike symbolism. The flowing forms and expressive imagery convey a sense of emotional intensity and existential weight, capturing Job’s despair and inner turmoil within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of sorrow, resilience, and the search for divine meaning. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Job...

Artist: Marc Chagall (1887–1985) Title: Adam and Eve Expelled from Paradise (Adam et Eve chasses du Paradis) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Siz...

Artist: Marc Chagall (1887–1985) Title: The Face of Israel (Le visage d'Israel) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x ...

Artist: Marc Chagall (1887–1985) Title: The Meeting of Ruth and Boaz (Rencontre de Ruth et de Booz) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 1...

Artist: Joan Miro (1893–1983) Title: The Giants, Plate 4 (Les geants, Planche 4) Year: 1960 Medium: Lithograph on velin paper Paper Size: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Maeght Editeur, Paris Printer: Imprimerie Arte, Paris Catalogue raisonne reference: Dupin, Jacques, et al. Miro Graveur. D. Lelong, 1984–2001, illustration 279 Notes: This exquisite lithograph by Joan Miro (1893–1983), titled Les geants, Planche 4 (The Giants, Plate 4), originates from 1960 and was published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Arte, Paris. The composition exemplifies Miro’s lyrical abstraction and poetic engagement with monumental form, gesture, symbolism, and the expressive possibilities of color and space. In Les geants, Planche 4 (The Giants, Plate 4), the artist transforms suggestions of immense figures and primordial presences into a highly personal visual language of biomorphic shapes, spontaneous marks, and dynamic spatial relationships. The result is a poetic interpretation of scale, imagination, and mythic presence seen through the lens of modern abstraction. Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the twentieth century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned simultaneously as an exhibition catalogue and as an autonomous work of art, featuring original lithographs printed directly from the artists stones or plates alongside essays, poems, and critical texts. Over more than three decades, Derriere le Miroir produced over 250 issues and presented an extraordinary range of artists including Henri Matisse, Marc Chagall, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Antoni Tapies, Pierre Alechinsky, Pol Bury, Bram van Velde, and many others. Printed by master ateliers such as Mourlot and Arte, the series established new standards of excellence in modern lithography and graphic design. Closely linked to exhibitions at Galerie Maeght, each issue served as a lasting document of postwar modernism, uniting image, text, and philosophy into a uniquely influential publication that remains among the most important and collectible achievements in twentieth century art publishing. JOAN MIRO (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the twentieth century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d’Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro’s inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro’s work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (Painting (Blue Star)) (1927), which sold for approximately 37 million USD at Sothebys, London, on June 19, 2012. Joan Miro Album 19, Plaque 5 (Album 19, Plate 5), Joan Miro lithograph, Miro Maeght Editeur Paris, Miro Imprimerie Arte, Miro 1960...

Artist: Pierre Tal-Coat (1905–1985) Title: Untitled (Sans titre) Year: 1960 Medium: Lithograph on velin paper Paper Size: 15 x 11 inches (38.1 x 27.94 cm) Condition: Well preserved, ...

Other Details: Primary Stone: Emerald Center Emerald Weight: Approximately 4.00 carats Center Emerald Cut: Cabochon Cut Center Emerald Origin: Zambia Secondary Stones: Diamond Seco...

Artist: Alexander Shandor Title: In the Spring Medium: Oil on Hardboard Year: 2017 Style: Impressionism Dimensions: 11 x 16" x 0.2" inch (28 x 40x 1cm) Presentation: Unframed, Type...

Artist Comments
A winding road curves toward softly silhouetted mountains. As the moon rises, the sky transitions from blue to warm yellow and muted pastels near the horizon. A...

"2 Mikes", contemporary portrait bold woman red blue close-up acrylic painting. A close-up portrait of a woman with red hair staring down at the viewer, judging the merits of the two...

Pair large Italian neoclassical black and white marble lamps with grey tole shades. Urn form marble lamps with Neoclassical style banding, newly electrified with silk cord twist and...

A very nice and large and heavy cast iron outdoor sconce, the patina is so much nicer in person, at the time of the picture we remove the glass, too much reflection with the flash,B...

Large French German Shepherd sculpture by Louis-Albert Carvin, dating to circa 1910. This impressive animal figure is cast in spelter and mounted on a substantial marble base, creati...

A grey, brown-glazed stoneware, brass and off-white fabric table lamp produced by Royal Copenhagen, Denmark, c. 1940s. In good vintage condition, with visible wear consistent with a...