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Studio B.B.P.R. for Arteluce, ceiling light, model ‘2045/p’, lacquered aluminum, acid-etched prismatic glass, Italy, 1962 This playful ceiling light is designed by Studio B.B.P.R. f...

Vintage Ladybug Brooch 18ct Gold Stamped Italy Circa 1980s A charming ladybird brooch crafted in 18ct yellow gold, stamped Italy 18ct, dating to circa 1980. The domed shell is ado...

Grand chandelier, metal, brass, Netherlands, 1950s This impressive chandelier, crafted in the Netherlands during the 1950s, is a striking example of post-war modernist design. Its a...

Pair of light turquoise blue octagonal faceted Murano glass and brass wall mirror, Italy Ready to ship from our Miami gallery, these handcrafted Italian Murano glass wall mirror feat...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

This unique embossed white monoprint was inspired by nature and features tree branch-like imagery. Susan Collett is a Canadian ceramicist and print maker known for her singular visi...

Amazing earrings in platinum structure mounted with diamonds for all the length and a drop turquoise as pendant. These earrings were totally handmade by Italian master goldsmiths and...

Maker: Ralph Lauren Home (confirmed by manufacturer's nameplate affixed to interior) Style: Art Deco Revival / Waterfall Moderne Materials: Bookmatched flame/swirl mahogany veneer, h...

A pair of wood and white fabric lounge chairs designed and produced in Brazil, c. 1950s. Wear consistent with age and use. Restored and reupholstered in recent history. Pre restorat...

These Christian Dior Quilted Beige Leather Knee High Stiletto Boots are a must-have for the fashion-forward individual. The neutral tone allows for versatile styling with any color p...

Art Deco Aquamarine Ring 18ct Gold Tested Circa 1920s Introducing a stunning 18ct yellow gold ring from the glamorous 1920s, epitomising the elegance of the Art Deco era. This e...

A Ring in solid 18K Yellow Gold decorated with bezel set cut lab made White Spinel measuring 12 mm x 10 mm x 5 mm deep / about 7 ct. This stone is bright and shiny with faceted bac...

Antique Eternity Ring Platinum Circa 1920s Step back in time with this exquisite platinum eternity ring, beautifully crafted in the 1920s. It is fully set with dazzling natural d...

ϟiignet Ring for Men in solid 18K Yellow Gold decorated with natural black Onyx stone stone rectangular cut and polished 14 x 12 mm x 2 mm deep/ about 5.5 ct . Made ca. 1950s -1960...

Antique Peridot Ring 18ct Yellow Gold French Stamped Circa 1890 Discover a stunning example of Victorian craftsmanship with this exquisite marquise/navette-shaped ring, beautiful...

Incredibly Rare Art Deco Disney Trifari Donald Duck Brooch from the 1930's. Early KTF hallmark with original enamel and ruby paste cab eyes. 2" x 1", 1930's USA.

A Van Cleef & Arpels Vintage Alhambra 18k White Gold Pendant Necklace. Crafted from 18k white gold, this necklace embodies refined craftsmanship and timeless elegance. Measuring 18...

Pair of lounge chairs, beech, floral fabric, Europe, 1940s This pair of lounge chairs combines a generous wingback silhouette with elegantly shaped beechwood armrests. The slender s...

Gorgeous extremely rare Iconic Thierry Mugler Evening Dress, FW 1986 Collection "Les Voleuses" The most dramatic evening gown with amazing crystal rhinestone details. High quality b...

This indoor table top bronze sculpture features a relaxed and contemplative man sitting on an overturned canoe. Roch Smith is a Canadian artist whose sculptural work explores ideas ...

From the Series Reliefs Aquaresin and Pigment 79 H x 16.5 W in. This striking artwork features three elongated, vertical panels, each uniquely textured with a rugged, charred surf...

Osvaldo Borsani, Valeria Borsani, and Marco Fantoni for Tecno, 'Canada' lounge chairs and ottoman, model 'T110', leather, mahogany, cherry, Italy, design 1966 The Canada series was ...

Versace ladybug and butterflies silk shirt New with tags on the side Size 48 IT Silk 100%.Made in Italy Final sale

Highly decorative vanity /snuff box or cigar case. In accordance with present hallmarks it was hand - made of solid 800 Silver on the territories of former Austrian-Hungarian Empire ...

Paul Evans, Paul Evans Studio for Directional, 'Deep Relief' sideboard, model 'PE-42', welded steel, enameled patchwork steel, painted oak, cleft slate, United States, 1968 An excep...

Vibrant Elie Tahari Beaded Chiffon Floral Gown from the 2000's. Simple flared shape with long train, lightly decorated at shoulders and down back with sequins and beadwork. Super ful...

De Sede, daybed, leather, Switzerland, 1970s This De Sede daybed/lounge set includes two parts: a lounge seat and an additional ottoman-style section, allowing for versatile configu...

Large wall unit or library, walnut, fabric, glass, Italy, 1950s A striking and monumental wall unit crafted in Italy during the 1950s. Executed in beautifully walnut wood, this impr...

A chrome-plated metal and blue glass pendant light designed and produced in France, c. 1930s. In good vintage condition, with visible wear consistent with age and use. Patina and we...

Contemporary sculptural console table 'Tangent' designed by Anne Boysen for dk3 Designed in Denmark, 2026 Dimensions (this listing – Small size) Width 120 cm x Depth 46 cm x Height ...

Chandelier, glass, brass, Europe, 1960s These elegant chandelier embodies the refined glamour of European mid century lighting design. Its sculptural composition of textured glass e...

De Doorluchtige Weereld – S. de Vries, François Halma, Amsterdam, 1700 Magnificent and complete three-volume set of De Doorluchtige Weereld (The Illustrious World), written by S. de...

Ca. 1920s -1930s German Lavalier styled necklace with main part / pendant in solid 18K Gold topped with platinum decorated with natural bezel set pear cut Aquamarine accented Diamon...

An original antique map of Wisconsin from the 1899 Rand McNally indexed atlas, this double-page sheet lays out the full state county by county, from the Lake Superior shore and the A...

Matteo Grassi, set of four dining chairs, leather and steel, Italy, 1980s. Sophisticated set of four dining chairs designed by Italian designer Matteo Grassi in the 1980s. These cha...

Original Antique Print of Exotic Insects, Lanternfly and Mantis, c. 1790 Original antique hand-colored engraving depicting a spectacular collection of exotic insects, including a la...

Dining chair, fabric, coated steel, wood, Italy, 1960s This Italian-designed armchair is characterized by their striking sculptural silhouette, featuring sculpted lines and sharply ...

Fabulously dramatic never-worn Chanel Pre-Fall 2008 opera coat in deep purple silk taffeta as seen on the runway. Classic 1960's style babydoll swing jacket silhouette with a rounded...

This contemporary abstract acrylic painting was inspired by nature. Sandra Goldie’s artwork has been praised by one of Quebec’s leading abstract artists. Leopold Plotek described th...

Angelo Lelii for Arredoluce, floor lamp, coated aluminum and brass, brass, marble, Italy, design circa 1954 An exceptionally rare floor lamp, designed by the acclaimed lighting des...

Antique Starburst Brooch/ Pendant 9ct Gold Stamped Circa 1910 Makers Mark H & SL *chain sold separately A charming Edwardian brooch crafted in 9ct yellow gold, designed in ...

A finely bound edition of Rudyard Kipling's famous work The Jungle Book, finely bound in full polished red calf by the esteemed binder Bayntun-Riviere of Bath, U.K., all pages gilt, ...

Modular corner sofa, leather, Italy, 1970s A spacious L-shaped modular Italian corner sofa, upholstered in firm cognac leather. The cushions are generously padded with a rounded, pl...

Piero Fornasetti Rosenthal Porcelain Plate, Temi e Variazioni Motiv 33, 1980s German, 1980s The plate presents Piero Fornasetti's most celebrated image, the face of the opera singer...

CHRISTIAN LACROIX Vintage abstract paisley print silk halter dress FR46 3XL Reference: MELK/A00740 Brand: Christian Lacroix Material: Silk Color: Multicolour Pattern: Abstract Closur...

Afra & Tobia Scarpa for Benetton Office, folding stool or ottoman, leather, steel, Italy, 1985. This stool is designed for the office of the clothing brand Benetton by Afra & Tobia ...

Charles Flandre, sideboard, solid elm, pine, wrought iron, France, 1960s Crafted by French cabinetmaker Charles Flandre, this exquisite elmwood sideboard beautifully blends rustic c...

An extraordinary Fall 2009 Jil Sander by Raf Simons runway gown, documented on the runway in this striking black-and-ivory colorway. A superb example of the collection’s exploration...

Antique Garnet Pendant 15ct Gold Circa 1860 * The chain is sold separately Step into a world of elegance with this exquisite Early Victorian pendant, expertly crafted from 15ct...

A Mid-century Modern floor lamp with a black metal frame and teak details on the foot and the stem. The lamp is stopped with a rattan / wooden slatted shade of a later date, offering...

TIFFANY & Co. 18K Gold T True 5.5mm Wide Ring 9 Metal: 18K Gold Size: 9 Band Width: 5.5mm Weight: 5.60 grams Hallmark: ©TIFFANY&Co. Au750 ITALY Condition: Excellent condition, like ...

Vintage Ball Link Chain 18ct Yellow Gold Stamped ITALY Circa 2000 A fine and elegant ball link chain crafted in 18ct yellow gold. Measuring 1mm in width and 16 3/4 inches in lengt...

Argy-Rousseau's near-unique ability to gracefully soften the starkness of Art Deco design without ever sacrificing the strength of the design is on full display in this remarkable, p...

Dining / work / conference table, walnut, linoleum, brass, Italy, 1930s This table embodies the rationalist design principles of the 1930s, where clarity of structure and functional...

Vanity with chair, walnut, mirror, fabric, Europe, 1930s This vanity and matching chair are distinguished by their expressive construction and flowing lines. Executed in walnut, the...

Jørgen Magnussen for Peder Pedersen, rare chest of drawers, pine, lacquered iron, Denmark, circa 1957 A presumably unique chest of drawers (ca. 1957), designed by Jørgen Magnussen, ...

Kircodan, lounge chair, teak, leather, Denmark, 1960s This chair reflects the hallmarks of 1960s Danish modern design: a streamlined silhouette, an emphasis on natural materials, an...

Lambertson Truex Tan Baby Crocodile Handbag. The actual color is lighter than the images and is more tan or light caramel.. Three inner pockets with a smaller zip pocket in the middl...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Modular sofa, leather, Europe, 1980s This sofa is fully executed in a black leather that contributes to a unified look. The construction consists of four elements. The sofa embraces...