Recognized Dealers

Architectural black taffeta tunic from Junya Watanabe Comme des Garçons Spring 2000 collection, as seen on the runway. Sleek lightweight taffeta in a trapeze top silhouette...

A stunning black pant and top/vest set from Dolce & Gabbana covered in silk flowers of different varieties and colors. The V neck top is midriff length wi...

Antique Emerald Ring 18ct Yellow Gold & Platinum Stamped Circa 1910 Step into the elegance of the Edwardian era with this exquisite 18ct gold ring. At its heart lies a stunnin...

The uniquely magical kinetic sculptures of American artist Lyman Whitaker translate an unseen force of nature-the wind into a visible, graceful and mesmerizing dance. As a master in...

Lucky Fish Pendant 9ct Gold Hallmarked Circa 1970s *The chain is sold separately Dive into elegance with our stunning vintage 9ct gold lucky fish pendant, a striking piece that ...

An off-white fabric and brass flush mount designed and produced in Sweden, c. 1950s. Wear consistent with age and use. Overall Dimensions (inches): 6.0"H x 19.75"D Bulb Specificat...

Antique Sapphire & Diamond Ring 18ct Gold & Platinum Circa 1910 Transport yourself to the elegance of the early 20th century with this breathtaking Edwardian-era ring. Pe...

A freeform wood coffee table with wooden inlays produced by Mobilaria Gloria, Brazil, c. 1960s. Wear consistent with age and use, including...

Lounge chair, fabric, beech, Europe, 1950s This inviting European lounge chair from the 1950s combines generous comfort with elegant mid-century styling. Its sculptural silhouette, ...

An exceptional, architecturally bold modernist statement ring bearing the maker’s hallmark JRS. Substantial and tactile, this studio-crafted piece features an undulating, accordion-l...

A Vintage Pearl Wave Clasp Torsade. There is something enduringly chic about a vintage pearl necklace. From a beautifully simple single strand or long rope to multi-row designs, crys...

SOLACE LONDON Haso navy blue asymmetric stretch crepe bell sleeves dress UK4 XXS Reference: BSHW/A00022 Brand: Solace London Material: Polyester, Blend Color: Navy Pattern: Solid Clo...

Vintage Dolce and Gabbana (circa 1990s) tiered skirt with tiered layers of floral and paisley. One tier is trimmed in lace, while another is trimmed in fringe. Additional long trim h...

Diamond & Sapphire Ring Platinum Tested Circa 2000 Discover the elegance of this stunning Art Deco-inspired platinum ring, crafted to the highest quality standards. The centrepie...

A gorgeous light weight wool jacket by Stephen Sprouse. It has alternating 2 3/4" tabs with Velcro closing up the front. The sleeves are cut in one with the front and back and there...

A beautiful blush pink silk dress with green and bright pink flowers by John Galliano for Christian Dior. It has ruched straps forming a front V, the skirt falls in gentle folds to the hem and there are the signature Dior self covered buttons...

Period: Late 16th century Provenance: Italy Ring size: 7 ¾ Dimension: 2,9 x 2,1 cm Weight: 5,9 gr Dating back to the end of the sixteenth century, this ring features an ancient gol...

Three Stones Ring for Men in solid 18K Yellow Gold with natural old diamond cut Diamond Ø 4.75 mm x 3.5 mm deep / ca.0.5 ct. each,color ca F,G /SI. There is a minor flaw inside this ...

Vampy lace mini dress from the Emilio Pucci Resort 2011 collection by Peter Dundas. Sexy one shoulder moment to show a little skin. Feminine body-hugging silhouette adorned in luxuri...

A fabulous rust orange striped wool sweater from Jean Paul Gaultier. It has long sleeves, a standup collar with functional silver buttons closure along it's side and one shoulder and...

This rare pair of armchairs was designed and produced by Frits Henningsen in Denmark in the early 1930s. The frames are crafted from solid mahogany, showcasing warm tones and finely...

Kurt Olsen for Slagelse Mobelvaerk, dining chairs, model 223, fabric, teak, Denmark, 1960s These armchairs are designed by Kurt Olsen for Slagelse Mobelvaerk and epitomize comfort a...

A fabulous black silk strapless dress from Gianni Versace Couture. It is fitted with flattering seaming and center back lacing, functional on the skirt portion with fine leather lac...

We heard the bandage dress is having a major comeback and nothing beats the real thing! An original 1990's Hervé Legér little black bandage dress. Hugs those curves in all the right ...

Hermès NIB highly collectible evelyne 23 , new size introduced in 2025. Gold tone taurillon clemence leather and gold tone hardware. Date stamp G for 2026. ...

An incredible black silk brocade dress with a blue, beige and gold petal pattern trim strategically and flatteringly placed along the sides and sleeves from Gucci. It is semi fitted...

Inez Upholstered Bench by Crump and Kwash Upholstered leather seat top / premium foam cushion / solid wood base with hand rubbed oil finish / solid steel construction with durable ...

Dramatic, romantic, and unapologetically expressive, this 5x7 hand-knotted floral wool area rug transforms traditional botanical ornamentation into a captivating study of color, move...

Florence Knoll for Knoll International, sofa, model '67A', steel, fabric, United States, design 1958, production 1960s/70s This sofa model 67A is designed by Florence Knoll for Knol...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

A gorgeous black silk knit gown from Gucci's S/S 2010 collection as worn on the cover of Vogue by Linda Evangelista. It is fitted, has long sleeves with zipper wrists and fabulous s...

ELO 6 Mirror Signed by Pani Jurek Dimensions: H. 150 x 120 x 4 cm Hand glazed ceramic Color shown on main image: Green _________________________________ Pani Jurek is a Polish des...

A stunning black silk dress in a linear geometric pattern by Collette Dinnigan. It is a slip style dress with black straps and rows of horizontal lines joined by rows of faggoting o...

This Alex Jona Tubogas bangle bracelet is handcrafted in Italy from polished 18-karat yellow gold. Its bold, graduated silhouette wraps elegantly around the wrist, combining sculptur...

A pair of floral-printed fabric and wood lounge chairs designed and produced in Italy, c. 1950s. Distress to vintage fabric. Wear consistent with age and use. Overall Dimensions (i...

An antique necklace dating to 1900, featuring an elegant arrangement of diamonds, blue sapphire accents, and a luminous pearl drop, all mounted in 18K gold with a platinum overlay. T...

An extraordinary and collectible supple black leather dress from Gianni Versace. This has all of the couture details Versace is known for- a fine fringe hem, laser perforated leather...

For sale is this 18 Karat yellow gold baby angel pendant. This beautiful detailed medal depicts a little child with curly hear and wings in front of a textured background. Thanks to ...

A fabulous off white silk dress completely covered in black and white glass beads from Valentino Boutique. It is sleeveless with a scoop neckline...

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...

We are thrilled to show you these magnificent Dutch heirlooms. These small antique earrings are crafted in 18 karat solid yellow gold with a champagne hue. These earrings were most l...

Vintage Unisex type Ring set with bezel set cabochon cut natural Black Onyx stone accented with old European cut Diamonds in Platinum clusters on solid 18K Yellow Gold band and crown...

This extraordinary ring is crafted in 18 karat solid gold. This stunning 'toi et moi'-ring is set with lovely old rose cut diamonds, A stunning bright green emerald and a romantic pe...

This collection is inspired by the unique galaxy of microorganisms living within each of us. We created a technique for dying and stippling each base that evokes the nature of microb...

TIFFANY & Co. Elsa Peretti 18K Gold 12mm Eternal Circle Pendant Necklace Metal: 18K yellow gold Chain: 16" Pendant: 12mm in diameter Weight: 5.50 grams Hallmark: "TIFFANY&C...

Retrò ring in 9 kt rose gold and silver structure mounted with a central sapphire surrounded by a crown of diamonds. Diamonds 0.43 ct Sapphire 1.85 ct Total Weight 2.90 gr RF +RCA R...

Gaia 59 by Jaume Llorens Bach Gaia 59 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size in a Limited Edition of 10 + 2 Artist's ...

Super long Victorian mourning chain of french jet, which also was possibly used as a muff or lorgnette chain. Composed of polished rhombus and trapezoid shaped jet beads. The long li...

Edouard Benedictus, 'Variations, plate 1' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in 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, ...

Vintage Ring with bezel set natural Blue Chalcedony stone 10 mm x 8 mm x 3.8 mm deep / ca. 3 ct, of fancy cabochon cut. The color is medium Blue, with tiny inclusions inside visible...

A brass and white fabric chandelier designed and produced in Sweden, 1950s. Minor oxidation to brass consistent with age and use. Overall Dimensions (inches): 26.0"H x 20.5"D Stem...

A fabulous colorful dress with a bit of stretch from Moschino. It is is sleeveless with a crew neck and incredible brightly colored shapes each individually sewn together comprising...

An iron and brown paper floor lamp designed and produced in France, c. 1930s. Wear consistent with age and use. Replaced vintage lampshade. Dimensions of Lamp with Shade (inches):...

Sofa, oak, leather, Scandinavia, 1950s This three-seater sofa beautifully reflects the stylistic traits of Scandinavian Modern Design. The base and backrest are pure and clear in th...

No47 Scarpa Round Dining Table – Made-to-Order Solid Wood by Joel Escalona ——— Introducing the Scarpa Collection, a homage to the legendary Italian architect and designer, Carlo Sc...

Fabulous black wool pants by Alexander McQueen from his famous iconic 'It's a Jungle Out There' F/W 1997 collection. They are a real stand out w...

A fabulous 2 piece black leather motorcycle jacket with matching skirt set from Gianni Versace's FW 1994 collection which are becoming increasingly...

Sofa, stainless steel, velvet, France, late 1960s This sofa grabs attention with its modern substantial design, combining a sturdy stainless steel frame with decorative velvet cushi...

As a young artist, Philippe Pallafray was inspired by sculpture masters and years later his dynamic contemporary sculptures are collected in both Canada and the United States. The Qu...