2,451 results for "weapons"

Iconic archival Thierry Mugler piece, as seen on Diana Ross. Few Designers understood the drama of the female silhouette quite like Thierry Mugler, and this extraordinary black skirt...

There is something gloriously defiant about a corset top by Vivienne Westwood. It never simply dresses the body - it stages it. This piece feels like a love letter to 18th-century se...

Thierry Mugler never simply designed clothes - he sculpted fantasies, built armor for the bold, and turned fashion into a force of transformation. His Fall/Winter 1988/89 Les Inferna...

Unique baroque table made around 1750 in South Germany. Exquisite marquetry in cherrywood, kingwood, walnut and elm. The marquetry depicts presentations of roman weapons and armor...

Rare Runway piece from Thierry Mugler FW 1993 Hiver Capitons Collection. This jacket is pure Mugler at his most cinematic. Cut from a blazing, saturated red wool, it sculpts the tor...

The 1985 original poster for Dangeureusement Vôtre, the French title of A View to a Kill, remains an iconic piece of cinematic memorabilia from the James Bond franchise. The film, di...

Marroquin forged steel dagger with sheath. Beautiful koummya dagger with a sheath from the region of Morocco, circa 1870. The blade was created with forged steel, mounted in wood and brass and embellished with silver parts decorated with chiseled and engraved motifs. The dagger is curved with a tick double edge blade, the handle is ornate with silver and wood. Like swords and daggers in most cultures, the Islamic dagger...

Stunning extremely rare MUGLER gown - FW 1998 'Lingerie Revisited / Helmut Newton' Collection - charged with seduction and kinetic electricity. This dress is breathtaking: a body-ski...

An exceptional and rare 17th century large iron box lock, showcasing the ornate craftsmanship of the Late Renaissance- Early Baroque period. Entirely hand-forged in steel and iron, t...

Fashion History: Designed for Alexander McQueen's Fall 2002 collection, these jeans embody Lee Alexander McQueen's fascination with combining traditional craftsmanship and historica...

Sword cane with carved mahogany curved handle, brass collar with push pull mechanism that reveals a two sided 17 1/2" blade and brass ferrule. 2 3/4" x 4", blade 17 1/2", overall 35"...

A group of four Native North American carved wood and painted effigy figures, Hopi Katsina or Kachina dolls paddling their canoe. Four wonderfully playful, brightly coloured and hig...

Star Island (2003), Edition 69/100. Silkscreen on paper. Signed, dated, and numbered on verso. Image: 30 x 30 cm. Sheet: 30 x 30 cm. BSS No. : E-2003-006. Catalogue Raisonne' No. : Y...

Two Neolithic basalt hone stones mounted on black steel bases. A hone stone was used to sharpen weapons and tools such as an adze, hoe or axe. These beautiful prehistoric objects are...

Superbly detailed "Little Boy" atomic bomb model signed by Enola Gay navigator Dutch Van Kirk, circa 2000s. The Enola Gay was named after Enola Gay Tibbets, the mother of the pilot, ...

English sword cane with a fine toledo blade that measures approximately 27 1/2". Triangular blade marked "Toledo" on the ricasso and is beautifully decorated with etched and fire blued panels which also exhibit areas of gold wash. The decorations travel for about half the length of the blade. The cane measures approximately 35 1/2" and features a nice scalloped and flowered decoration with brass ferrule. Good condition. Blade remains bright and locks into scabbard properly. Nice patina to handle. PERIOD: Late 19th Century ORIGIN: English SIZE: 35 1/2" x 5" Check out our large selection of 19th and 20th Century canes including sword canes and gun canes...

African Ethiopian painting imported to Italy by a diplomat during the Italian occupation of Ethiopia, in the late 1930s. This tribal folk art painting depicts a battle scene and the canvas is mounted on a parallelogram-shaped frame. It is a large battle painting...

Original vintage Chinese Communist Party Cultural Revolution propaganda poster - Be ready to annihilate the invading enemy / 随时准备 歼灭入侵之敌 - featuring an illustration of two soldiers i...

Intaglio 15 × 21 mm; 18k gold mount – ring size EU 53 (US 6½ / UK M½) — open hoop, adjustable; gross weight 7.46 g. Neoclassical intaglio, late 18th – early 19th century, after a Ca...

This is a superb antique decorative cast iron signal cannon mounted on a two-wheeled carriage, and dating from Circa 1920. This well-proportioned and detailed cast iron model of an ...

Bronze Roman War Horse. When someone speaks of the Roman Empire, an initial thought to cross a person’s minds is the magnificent size of her dominions. Be...

Ancient African Customs is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Africa" and subtitle "Sig...

Sensational image by Gustave Doré Woodcut engraving Published C.1880 Unframed. Free shipping

Goddess Neith Ancient Egypt · Late Period, 664–332 BC. Bronze Bronze 21 cm with the stand. Condition: Good condition. It has a crack on the neck, which has been professionally repaired. Documentation: - Present in one of the photographs taken by Dutch photographer Willem van de Poll in October 1961 during a visit to Erich Maria Remarque and his wife, American actress Paulette Goddard, at their villa in Porto Ronco, Switzerland. - Certificate from Moreau Gobard dated July 13, 1978. Provenance: - Label on the bottom of the base, from the Erich Maria Remarque collection. Erich Maria Remarque (Germany, 1898 – Switzerland, 1970) was one of the most prominent European writers of the second third of the 20th century. Sent to the front during the First World War, he captured the horrors of the conflict in his immortal anti-war novel "All Quiet on the Western Front," published in 1929. His defiantly pacifist stance during the turbulent interwar period led Joseph Goebbels to label him unpatriotic in 1933; his works were removed from German bookstores, and their sale was banned throughout the country. Finally, his German citizenship was revoked in 1938, a year before the outbreak of the Second World War. By then, Remarque had gone into exile in Switzerland, fleeing the rise of Nazism. From there he went to the United States, where he obtained citizenship in 1947. A year later he settled permanently in Porto Ronco, Switzerland. Remarque continued writing and reflecting on the horrors of war for the rest of his career, forever marked by the violence that swept through Europe between the 1910s and 1940s. A firsthand connoisseur of the art world, Remarque was a great admirer of the Impressionists and, over time, became a scholar and expert collector. His collection included works by Toulouse-Lautrec, Monet, Degas, Renoir, Daumier, Cézanne, and Picasso, among others, as well as ancient Chinese bronzes and terracotta figurines, Coptic art...

The battle depicted here takes place between the Lapiths and the Centaurs at the wedding In this mythological battle between Lapiths and Centaurs, Surdo directly engages the lineage ...

Massive lot of 151 enameled Hard Rock Cafe brooch pins / badges. Also includes 2 All Is One magnets, a Cayman Islands bottle opener, and 8 buttons (5 No Drugs or Nuclear Weapons All...

King Jr., Martin Luther, Stride Toward Freedom: The Montgomery Story. New York: Harper & Brothers: 1958. First edition. Presented in the publisher's original boards and dust jacket. ...

40x60 inches (100 x 150 cm) Edition of 15 Archival Pigment Print Unframed Certificate of Authenticity Signed by the artist Ask us for framing options. Björn Persson is an internat...

This sculpture created by Ken Butler is part guitar part surfboard. It is made in the spirit of absurdity many surrealists embraced using found objects in functional scenarios. signe...

Medieval Inspired wall mirror, Carved Walnut Wood, Spain, 1930s. One of a kind carved walnut mirror framed by a spanish knight. This finely carved wall ...

Louis XVI clock garrison and chandeliers. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, around 1780 or 1790 and later. Bibliography:...

A mid 19th century statuary marble sculpture of the ‘Dying Gaul’ after the antique. This marble sculpture is a scale depiction of the larger Dying Gaul marble statue, currently loca...

20th Century flick stick cane with silver knob handle which when flicked reveals a 7 3/4" pike blade, hardwood shaft, and horn ferrule. 1 1/2"H x 2 1/4", overall 36 7/8"L Family Own...

Ultra-Rare 2012 Versace Gown A museum-worthy artifact of modern couture history, this 2012 Versace gown is an exceptionally rare piece from one of the house’s most celebrated collec...

This Great Plains beaded war club is formed with a long, tapering handle terminating in a double-cone head, the entire object presenting the purposeful balance and compact striking p...

This sculpture by Salvatore Melani depicts a dynamic and muscular warrior in an intense battle-ready pose. The figure is lunging forward with one leg stretched out, while the other i...

Antique Large Japan Musha Samurai Boy Days Gofun Daimyo Ningyo Doll This is a Japanese Boys Day doll of a Japanese warlord, a Daimyo from the 18...

Dreamscape (Wastelands), 2003 20x20cm 
Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. 
Certificate and Signature label. 
 Artist inventor...

Handsome vintage Asian Chinoiserie rosewood Guan Yu or Chinese warrior hand carved larger scale sculpture. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear. Please see photos and zoom in for details. We attempt to portray any imperfections. Circa, 20th Century. A warrior is one who sacrifices himself for the good of others. His task is to take care of the elderly, the defenseless, those who cannot provide for themselves, and above all, children- the future of humanity. This is a magnificent vintage Chinese warrior or Guan Yu sculpture comprised of stunning rosewood with intricately hand carved details and a removeable guandao (Chinese pole weapon). In Chinese culture, General Guan Yu represents loyalty and valor. People believe that by having his image in art or sculpture in their home will protect their family from harm. And while we don’t believe he is going to break out with any actual martial arts moves; his fearless presence commands the room and demands attention! You may notice that in some of the photos our warrior friend is holding his guandao upside-down, don’t judge! Even the best of warriors tend to get exhausted from a long day of defending humanity and protecting mankind. A guy can get a little turned around! Just look at his expression… he is OVER it!! His hand is even up gesturing as if to say, “Talk to the hand!” LOL!! He is handsomely dressed from head to toe in full body armor and his long beard or Fu Manchu is flowing in the breeze. He stands proud upon a rounded square base at about 24 inches tall, so he is definitely larger scale, he will be fabulous in ANY room of your home, and he is the EPITOME of Chinoiserie excellence! Don’t let this incredible hand carved rosewood Chinese warrior sculpture...

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 necessity during the Victorian Era, hat pins not only balanced precarious hats atop piles of hair but also moonlighted as weapons against overzealous gentlemen. Though teetering ha...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely, extra large, Swiss made Black Forest wood, Rabbit / Hare whip hook with glass eyes This is a v...

"William Tell" mechanical bank was patented and manufactured in 1896 by the J. & E. Steven's Company in Cromwell, Connecticut (please see image of the underneath with patent informat...

Title: Rare 18th-Century Engravings of Cannon Manufacturing and Artillery Casting Techniques Description: This exquisite set of six 18th-century engravings showcases the intricate p...

A great looking hand carved original wooden Folk Art Statue. A great piece for a suitable ambiance in a Cabin room or the office of a Hunter or Woodsman. More than likely one of the ...

Original vintage World War Two Soviet propaganda poster - Long Live the 25th Anniversary of the Leninist-Stalinist Komsomol! Dynamic artwork depicting soldiers and workers marching f...

This exceptional matched pair of 19th-century Meissen porcelain elephants vividly capturing the historical moment of Alexander the Great’s conquest of India. Each elephant is beautif...

A late 19th-century fishing spear or harpoon head, individually forged from iron with five long prongs terminating in sharply formed arrow points. Slight variations in the tines and ...

A travers.Portfolio with 14 silkscreens. Publisher GKM. Unframed. Edition of 200 ex. Signed, dated and numbered. Free shipment worldwide. “I paint because painting is a private Utopia,” Erró writes of his art. The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life – and titillating, too! There is room in his pictures for both paradise and visions of fear. Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in north-western Iceland. Since Gudmundur first became enthralled by pictures of works of art in a catalogue from the Museum of Modern Art in New York at the tender age of ten, painting has been his passion and his mission in life. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo. Erró travelled extensively in Spain, Italy, France and Germany in the 1950s, studying at the Florence Academy of Art in 1954 and at the School of Byzantine Mosaic Art in Ravenna in 1955. It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958. During the 1960s he established contact with the Swedish museum director Pontus Hultén, who encouraged him and took him under his wing. Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris. Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. Donald Duck with his Daisy, Chip & Dale, and other Walt Disney creations are unselfconsciously juxtaposed with Greek gods and madonnas. Elsewhere the German dictator Adolf Hitler stands shoulder to shoulder with his Iraqi counterpart Saddam Hussein...

-Material : Sterling silver -Amulet, L 43.8mm X W 15.2mm Length with bail: 51mm -Pavé black diamonds, 0.45 total carat weight -Does not come with chain Condition: Pre-Owned Com...

A beautiful Art Deco vase with amazing relief pattern. Designed by Anna-Lisa Thomson for Upsala Ekeby, Sweden, 1930s. Great condition. Anna-Lisa Thomson (1905-1952) was born in th...

Stunning extremely rare MUGLER gown, FW 1998 'Lingerie Revisited / Helmut Newton' Collection - charged with seduction and kinetic electricity. This dress is breathtaking: a body-skim...

Panabas short sword from the Philippines. A rare late 18th early 19th century Panabas short sword from the Mindanao, Malabang and the Moro cultures in Lanao Del Sur, the southern p...

Eastern (most probably Mohawk), circa 1880-1890, ball headed war club with antler spike. Still shows file rasp marks from carving. Decorated with dots and bird tracks. Made of fir. Guaranteed to be last quarter 19th Century. Ex. Lockwood Family, Cincinnati. Acquired from the 3 million dollar lifetime Ostuw Collection. A very neat piece on display in our 14,000 square foot gallery in Coeur d'Alene, Idaho. Period: 19th century Origin: Eastern, US Size: 24" L, ball 4" D, spike 3" L. Family Owned & Operated Cisco’s Gallery deals in the rare, exceptional, and one-of-a-kind pieces that define the history of America and the Old West. Our pieces range from American Indian to Cowboy Western and include original items of everyday life, commerce, art, and warfare that tamed America’s frontier. Our 14,000 square foot gallery opened in 1996 in beautiful Coeur d’Alene, Idaho. Personal Service Cisco’s operates on old fashioned values – honesty and integrity, and all of our items are backed by our money back guarantee. We appreciate the opportunity to earn your business. Whether you desire assistance with a jewelry purchase, choosing a gift, identification, or even selling – we hope to be your trusted source.   Native American...

A Migration Period or Early Medieval Slavic Finger-Ring with Hemispherical Bezel Decorated with Collared Granules and Garnet Cabochon Gold, garnet Migration Period / possibly Morav...

Standing figure of Julius Caesar wearing a Tunic and holding a billowing drapery with a composition marble square-section pedestal. . The other figure is of Hannibal. Provenance fro...

Introducing the captivating Silver-Gilt & Jewel Mounted Dagger, a true masterpiece of craftsmanship. This Mughal-inspired dagger knife, made from 1.1 kg of silver, serves as an exquisite collectible to adorn your living room. Its regal design features a gold-polished surface adorned with an array of large, all-natural gems. As the name suggests, this dagger is embellished with Navratna, a combination of nine precious gemstones...

Through Shot and Shell by James Nathan Muir is a powerful and emotionally charged bronze sculpture that immerses the viewer in the chaos of a Civil War battlefield. Muir, celebrated ...

"The Arms Collector" - An Exceptional Orientalist Watercolor by Filippo Indoni This captivating watercolor, titled The Arms Collector, is an exceptional work by the renowned Itali...

Beautiful Thierry Mugler Fall/Winter 1993 two piece ensemble: A gorgeous sharp vision, polished to a dangerous gleam, it stands at the crossroads of Film Noir and Old Hollywood power...