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An ode to understated confidence and meticulous detail, the iconica diamond pendant necklace is a brilliant expression of pomellato’s distinctive identity—bold, sensual, and undeniab...

Crafted from 18kt rose gold, this ring boasts a warm and luxurious hue that enhances its overall elegance. The band is polished to a high shine, providing a sleek and refined finish ...

RAND TOUR Italy, late 19th century "Narcissus" Patinated bronze cast by the Michele Amodio foundry of Naples, signed to base cast third quarter of 19th century Item # 406SKN07W ...

Intricately hand pierced scrolls lined with shimmering single-cut diamonds frame a glowing 1.8 carat sapphire cabochon in this delightful Art Deco ring. Hand fabricated in platinum, ...

An exceptional, painted American trade sign made from carved wood in the full-bodied form of a race horse’s head. Wonderful movement, tremendous f...

Bracelet is designed as large horsebit motif links Connected via large oval shaped links With high polished gold finish Terminating horse-bit is hinged as clasp closure Stamped 750 w...

A fabulous pair of authentic Van Cleef & Arpels earrings depicting the iconic Alhambra motif set in 18k white gold. The symbol is said to represent luck, health, fortune, and love. ...

Ring designed as stylized horse head with a flowing mane wrapping fully around Engraved with hair texture and grooved with facial features Completed by matte gold finish Stamped with...

Designed as mousetrap style links with looping detail With high polish finish Completed by spring clasp closure Stamped for 14 karat gold Fully signed for Tiffany & Co. Circa: 1980s;...

Chanel Vintage Dark Gray Rectangle Frame Matte Silver Sunglasses in excellent condition. Dark gray frame in classic and timeless 2000s rectangle shape trimmed with CC logos and thin ...

Measuring a wearable 21 3/4 inches, this versatile watch chain is the ideal accessory for showcasing your favorite charms or pendants. Handcrafted from gleaming 14-karat rose gold, t...

Adding a vintage flair to your style is easy when you have This platinum ring in your jewelry collection. This Art Deco-inspired piece features a row of sapphires in an invisible set...

PIERRE-JULES MÊNEFrench, 1810-1879"Chien braque à la feuille"Medium-brown patinated sand-cast bronze raised edge signature cast into base "P.J. MÊNE" pr...

Chinese Export Porcelain Armorial Dish, Pseudo Continental Arms, Motto- "His Ornari Aut Mori", After a Meissen Porcelain Original Service, Circa 1760 The Chinese Export armorial porcelain oval dish with overall Bianco Supra Bianco has a central Rococo armorial coat of arms centered with three garlands with the motto "His Ornari Aut Mori" below. The armorial surrounded by scattered flowers and four shaped gilt bordered panels on the shoulder with two bouquets of famille rose flowers and two of fruit. The motto translates as To be adorned with these, or to die, referring to the three wreaths in the coat of arms, woven of olive, laurel and oak leaves. The three leaves representing sapientia, doctrina ac rei militaris peritia, "wisdom, learning and military expertise." The reverse with a bamboo band with fruit and flowers with scattered flowers to the top, bottom, and each side. The gilt rim on the border now rubbed. Dimensions: 16 1/2-inch-wide x 13 3/4 inches deep x 1 1/4 inches high Reference: The Choice of the Private Trader: The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, David. S. Howard, 132-133, for a strainer & Dish from the same service. Howard says this is from a Chinese Export service that is a direct copy of an original Meissen porcelain service...

Denied Warhol Flowers, (Yellow) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 48 x 48" inches 20...

"Old Swede's Church in Winter" is an American Regional city scene in Philadelphia, Pennsylvania by American Impressionist painter Albert Van Nesse Greene...

Vintage Chrome Hearts 22k Yellow Gold Diamond Heavy Link ID Bracelet. With 11 Round brilliant cut diamonds VS1 clarity, G color. Behold the pinnacle of opulent design with this Vint...

Valentino Pearl Beaded Leather Crystal Shoulder Baguette in good condition. Brown leather body trimmed with alligator leather piping and handle. Silver...

Stylized, circular forms give this Bvlgari Astrale its instantly captivating appearance. The bold pendant measures 2.0 long by 0.80 wide and is suspended from a delicate 18 chain. Th...

Gorgeous antique butterscotch amber necklace, total weight is 15.17 grams. The are some very minor chips, nicks to be expected. Its a very ...

Set of ten French Porcelain apothecary jars, 19th century. The set consists of five smaller cover jars and five larger covered jars. Each ...

Comprised of five fitted band rings featuring puzzle prongs and slots With undulating wave contour and alternating with gold color Flush set with round brilliant cut diamonds through...

This pristine Etruscan revival demi-parure dates to the mid-Victorian era, circa 1860. The collar is composed of an articulated, silky smooth 15 karat gold snake chain adorned with c...

Kenneth Nunamaker (1890-1957) House in Center Bridge Oil on canvas on board, 8 x 10 inches (20.3 x 25.4 cm) Signed lower left: K. Nunamaker Inscribed on verso: K. Nunamaker / New Hop...

Chinese Export Porcelain Maiden Lotus Candlesticks, A Pair, Circa 1765 The pair of Chinese maiden candlesticks are each in the form of a Chinese m...

A captivating ring of extraordinary style, here is Piaget's Possession ring in white gold glittering with 0.24 carats of brilliant diamonds. This stylish ring features a central turn...

The Greek sea god Poseidon and his Roman counterpart Neptune are often associated with a three pronged trident. The spear is believed to be symbolic of power and the holy number three. This wonderful Victorian era trident brooch features a platinum topped gold spear head...

A fabulous authentic Boucheron diamond ring showcasing 33 of the finest round brilliant cut diamonds set in 18k white gold. The diamonds are sec...

This Van Cleef & Arpels ring is sleek, stylish, and incredibly sophisticated. Crafted from 18K Yellow Gold, Diamonds with a total weight of 1.45 carats elevate the simple setting. Bl...

Designed as an ornate cross shaped form suspending from a fleur-de-lis shaped surmount Comprised of flaring trefoil terminals with twisting edge surrounds and enamel throughout Trans...

A marvelous diamond and emerald ring from the Edwardian (ca1910s) era! Crafted in 18k vibrant yellow gold, this ring features a substantial navette centerpiece, which is encrusted wi...

Centering a rectangular step-cut aquamarine weighing approximately 19.32 carats Transparent light blue in color and set in basket via corner tab prongs Flanked by rows of prong set t...

Provenance Private collection, New Jersey; Thomas Colville Fine Art, Guilford, Connecticut; Private collection, Connecticut, until present John Koch’s portraits of New York high soc...

18k White Gold Alhambra 20 Motifs Diamond And Black Onyx Necklace by Van Cleef & Arpels. This necklace comes with certificate of authenticity and a box from Van Cleef & Arpels. With...

This Bvlgari B.Zero1 ring is filled with dynamic details. This pieces chic, contemporary design includes the luxury brands signature engraved on the sides and an evocative spiral det...

This Harry Winston cross necklace allows you to share the light of your faith. It is exquisitely crafted in 950 platinum and embellished with 12 round br...

An absolutely beautiful diamond and sapphire engagement ring from the Art Deco (ca1930s) era! Crafted in platinum, this ring features a central 1.62ct old European cut diamond held w...

The intricate cut-out design provides a contrast between solid gold and negative space, allowing light to pass through the motifs. This gives the ring a lighter, almost ethereal qual...

A magnificent Chopard diamond ring showcasing 1.39cts of the finest round brilliant cut diamonds in 18k yellow gold. The diamonds are prong set fo...

Sleek and slender this late Edwardian-era dinner ring, measuring 1" long, features three bright electric blue sapphires spaced by glittering old mine-cut diamonds. Hand fabricated in...

A beautiful ruby and diamond star pendant/charm from the Victorian (ca1880s) era! Crafted in 18k yellow gold, this piece resembles a small, delicate star. The center of the star feat...

An exceptionally rare authentic Cartier ring in 18k white gold set with the finest Cartier round brilliant cut diamonds. Size: US 6 1/2 / EU 53 Dimensions: .53″ Inches Wide In...

This sleek and stackable 1950’s ring by HWBT & Sons highlights three seamlessly-set bright-white emerald-cut diamonds, spaced vibrant natural rubies. Rendered in 14k white gold, this...

This exquisite pair of vintage cufflinks by Harry Winston epitomizes luxury and sophistication, blending masterful craftsmanship with timeless design. Central to each cufflink are ma...

Louis Vuitton Monogram Canvas Cite GM Shoulder Bag Tote in very good condition. Signature monogram canvas exterior in brown and tan LV print trimmed with tan leather piping and doubl...

Platinum Diamond Fleurette Five Flower Necklace by Van Cleef & Arpels With 35 Round brilliant cut diamond VVS1 clarity, E color total weight approximately 3.67ct This necklace comes ...

A fabulous Pomellato cross pendant showcasing 5 cabochon cut Garnet stones weighing 27ct in 18k yellow gold. The pendant measures 2.51" in length by 1....

The Hermès Chaine d'Ancre Divine Rose Gold Diamond Ring is an exquisite masterpiece that embodies the pinnacle of luxury and craftsmanship. This remarkable piece of jewelry draws ins...

Centering a cushion cut emerald weighing approximately 0.45 carat total - transparent medium green in color Bezel set in yellow gold and flanked by platinum-topped scrolling bypass s...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

A chic Christian Dior white gold ring showcasing 4 separate letters freely floating set with round brilliant cut diamonds. The ring measures a size 50 ...

Crafted by Tiffany & Co., this distinguished pair of cufflinks features striking, spherical Tiger's Eye stones elegantly set in polished 14 karat yellow gold barbell mounts, exuding ...

Platinum 20-Stones Diamond Hoop Earrings designed by Jean Schlumberger for Tiffany & Co. With 20 Round Brilliant Cut Diamonds VS1 clarity, G color total weight approximately 1.80ct ...

18k White Gold Panthere Panther Pave Diamond, Black Onyx, Emerald Earrings by Cartier. The Cartier Panthère earrings in 18k white gold exude fierce elegance. Featuring the iconic p...

Centering an emerald cut diamond weighing 3.73 carats - J color with VS2 clarity Prong set in a pierced basket setting and flanked by baguette cut diamonds Bar set in cathedral shoul...

An incredible Van Cleef & Arpels Bird of paradise, set with brilliant-cut diamonds and pink sapphires mounted in 18 karat white gold. The brooch can be worn as a pendant as well and ...

This exquisite piece of jewelry is strung with graduated cultured pearls that range in size from 11.1 mm to 17.2 mm, presenting a seamless blend of grandeur and sophistication. These...

British Sailor's Woolwork Picture of Five Ships offshore, Circa 1875 The large sailor's woolwork or sailor's woolie depicts five different ships. The largest ship is in the center ...

A timeless trio: this Cartier tri-color gold rolling band ring intertwines yellow, white, and rose gold, symbolizing love, fidelity, and friendship. Size 60 (US 9) Numbered and sign...

French Modernist Art Deco pair of club chairs in the style of Louis Sognot, circa 1930. Solid French walnut frames. Unrestored in the photos. 30” wide x 34” deep x 32” high. Arms 23”...