2,386 results for "weapons"

This impressive pair of highly detailed antique military figures were cast in France, circa 1890. Both soldiers stand in a classical pose known as con...

From Thierry Mugler’s Fall 1998 collection emerges this exquisite black gown - a masterclass in sculptural sensuality and drama. Mugler, ever the arch...

Power. Precision. Seduction. Thierry Mugler’s Fall/Winter 1996 Les Amazones jacket is the ultimate sartorial weapon - crafted not just to be worn, but to command. This architectural masterpiece sculpts the body into a force of nature. The beautiful high quality wool contours the torso with Manfred Thierry Mugler’s signature hyper-feminine tailoring, while black accents - on the dramatic notched lapels and sharp fauxpocket flaps - inject a striking duality of softness and strength. The double-breasted cut, punctuated with bold black buttons, reinforces its executive authority, reminiscent of 1940s film noir heroines, yet unmistakably futuristic. From the back, the design cinches at the waist, flaring into a razor-sharp peplum that evokes the structured elegance of equestrian jackets...

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...

Antique American Darting Gun Toggle Iron Harpoon, made by E.B. and F. Macy, New Bedford, for the Larboard Boat on the Whaling Bark Sunbeam (1856 - 1908), having an improved toggle head with acute barb (standing nearly at a right angle), and an unusual ridged cheek, with the maker's mark MACY stamped on the right cheek (the mark of E.B. & F. Macy, blacksmiths of New Bedford: 1861-1904), the ship stamp BK SB on the left cheek (for the Bark Sunbeam, and the dot punched boat mark L B (for the Larboard, or Second, or Port-side Stern whale boat); mounted on a round shank slightly kinked from use, ending in the spike end necessary for use with a darting gun, and the loop for splicing on the iron strap. An amazing artifact retaining a tremendous amount of historical documentation. The harpoon remain in very good condition with a still very sharp cutting edge and deep brown patina and no corrosion. The head is frozen, but in the absence of rust it would very likely free up with a little lubrication if so desired. The tip of the front barb has a small chip off tip. The slight kink to the shank comes from use and is considered by most to be a a good feature. The Bark SUNBEAM was built in Mattapoisett in 1856 and enjoyed a long career in the New Bedford whale fishery of 17 voyages to the Pacific, Atlantic and Indian Oceans. Clifford Ashley...

Museum worthy piece of Fashion History Extremely rare piece from Thierry Mugler’s legendary Spring Summer 1986 SAHARA Collection. On the runway, these garments advanced like goddesse...

This Spring/Summer 1994 skirt suit is Thierry Mugler at his most iconic: fashion as architecture, command, and seduction in equal measure. Cut razor-sharp and fitted, the jacket scul...

A beautiful antique wooden & iron hand made harpoon. This would be ideal for an installation on a wall on a custom wall mount. We could have a mount made for an additional cost. ...

From the Fall/Winter 1997 collection of Thierry Mugler, this jacket is pure architecture, sharpened to a point and dipped in seduction. Mugler, at the height of his imperial phase, w...

A beautiful vase with amazing relief pattern. Designed by Anna-Lisa Thomson for Upsala Ekeby, Sweden, 1940s. Excellent condition. Impressed 'EKEBY'. Anna-Lisa Thomson (1905-1952) ...

This Thierry Mugler ensemble from Fall Winter 1993 is pure weaponized elegance: a skirt suit that turns a checked wool into beautiful drama. The jacket is cut in Manfred Thierry Mugl...

Jesse Soifer (1932-2013). Untitled #142 ca. 1990. Ink and paper collage, sheet measures 14 x 15 inches. Unsigned. Estate stamp on verso sheet with assignation number. Early Life...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

Pair of stamped brass stirrups decorated with Hashizuka, Ito and Manabe Mons. Japan - Edo (1615-1868), 18th century. Height: 10.24 in. (26 cm), length: 12.6 in. (32 cm), width 4.72 in. (12 cm) As in Western culture, the culture Japanese stirrups were part of traditional accessories...

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...

Logistics and International Shipping We provide a comprehensive export service so that your only concern is enjoying your acquisition. • Door-to-Door Service: Pieces located in our Argentina galleries are shipped directly to your address via air freight. • Simplified Customs Management: We handle the processing of export permits and the payment of customs duties. You will receive your purchase without additional paperwork or surprise costs. • High-Security Packaging: Following FedEx international standards, each piece is protected in custom-made wooden crates, designed to withstand 1-meter impacts and ensure the integrity of the object during transit. • Note for shipments to the USA: To comply with shipping company regulations and ensure delivery at the destination, a valid tax ID (EIN, SSN, or ITIN) is required. • Domestic US Shipping: For those pieces available in our United States storage, logistics are managed through 1stdibs. F. Barbedienne fonduer Ferdinand Barbedienne (6 August 1810 – 21 March 1892) was a French metalworker and manufacturer, who was well known as a bronze founder. The son of a small farmer from Calvados, he started his career as a dealer in wallpaper in Paris. In 1838 he went into partnership with Achille Collas (1795-1859), who had just invented a machine to create miniature bronze replicas of statues. Together they started a business selling miniatures of antique statues from museums all over Europe, thus democratising art and making it more accessible to households.[2] From 1843 they extended their scope by reproducing the work of living artists and also diversified by making enamelled household objects. With the outbreak of the Franco-Prussian war in 1870 the firm briefly had to switch to cannon founding owing to the shortage of metals but resumed business afterwards. Following Barbedienne's death in 1892, he was buried in the Père-Lachaise cemetery and the firm was carried on by his nephew Gustave Leblanc until 1952. Among the principal artists reproduced by the firm were Antoine Louis Barye and Auguste Rodin. The Dying Galata (Italian: Galata morente...

1980s Arabic style Dagger made with hard stones.

A very rare early 1960s Polish Cyrk (Circus) poster featuring charming Lion Tamer artwork by Jerzy Srokowski. A super stylish design, very charming. This vintage poster is sized 1...

This beautiful Spring Summer 1997 Thierry Mugler Couture LES INSECTS Collection Skirt Suit (Jacket and Skirt) captures legend Manfred Thierry Mugler at his most iconic: bourgeois tai...

In an unforgettable moment of runway alchemy, Paco Rabanne’s Spring/Summer 1998 collection delivered one of the most quietly theatrical fashion sleights of hand in ‘90s couture...

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...

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...

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"...

This wonderful Japanese cast bronze okimono in the form of crab was made by Ryubundo Yasunosuke VI (1840-1921), a sixth generation of the Yasunosuke family active in Meiji and Taisho...

Stardust Manifesto: Thierry Mugler’s 1990s ‘Angel’ Collier and Earring Set In an era when fashion flirted with futurism and sensuality found armor in chrome, Thierry Mugler sculpted...

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...

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...

Antique sword stick with carved head Wear consistent with age and use Antique decorative weapon Measures : Socle 5,5cmx45cm - Sword stick 2,5cmx43cm

This gorgeous Japanese red lacquer traveling shrine (zushi) protects a miniature statue of Bishamonten, the Buddhist God of Warfare here depicted as an armor-clad warrior. A fearsome protector, he is thought to defend sacred places, punish evil-doers, expel demons and bestow wealth. In this example, Bishamonten stands atop a crouching demon, dressed in finely painted armor...

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...

A fine antique set of two Italian Neoclassical engravings from Antonio Lafreri's edition in 1553, copied from the original engravings of Polidoro da Caravaggio (1499 – 1543). These f...

Rare nude Art Nouveau celluloid handle Straight Razor. This is a great antique straight razor with a detailed Art Nouveau Nude standing in a gre...

"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...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. 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...

Well tacked Great Lakes gun stock club with tapering hexagonal point. Recessed hand grip and shaft, profusely decorated with a pattern of pewter head iron nails forming zig zag, circ...

Gorgeous Vienna Bronze figurine group made by famous Austrian manufactory Bergman(n) circa 1890. The bearded Arab man wearing turban has sat down, protected by a tent. The man - a...

Antonio Calza (Verona, 1653 – Verona 1725) Battle between Christian and Turkish cavalry Oil on canvas 47 x 85 cm In frame 66 x 105 cm Here we see a fierce battle between Ch...

Linda Stein, Warrior Waging Peace: Addressing Fear 1279 - Feminist Figurative Mixed Media Black and Colorful Contemporary Sculpture T...

A sublime poster steeped in history. Maurice Pineau created this work to promote the F.F.I exhibition held at the Berlitz Palace in 1944. The Forces françaises de l'intérieur (FFI)...

Family is an original offset and lithograph print realized by George Grosz. The artwork is the plate n. 2 from the portfolio Ecce Homo published between 1922/1923, edition of Der Ma...

Ron Hicks' (US based) "Study at Jan and John's" (2025) is an original, handmade oil painting that depicts a lightly abstracted portrait of a woman against a pale white background. T...

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting its Convair Company. Founded 1952, General Dynamics hired Nitsche a...

This is an exceptional antique English Neo-classical Revival silver plated wine cooler bearing the makers mark of the renowned English silversmith Elkington, dated 1873. The wine co...

In Greek mythology, Medusa, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Medusa was beheaded by the Greek hero...

This black Mugler top reads like a whispered provocation. Suspended on delicate, almost incidental spaghetti straps, it exposes the shoulders with the studied nonchalance that Mugler...

Igorot tribesmen wood carved picture depicting an indigenous murder scene. Northern Luzon, Philippine islands. Were feared & known as deadly head hunt...

This print is from 'The Military Costume of Turkey. Illustrated by A Series of Engravings. From Drawings made on the Spot. Dedicated by Permission to His Excellency the Minister of the Ottoman Porte to his Britannic Majesty.' London, Published by Thomas M'Lean, Haymarket, (1818). Folio. One of 29 fine handcoloured aquatint plates . Very light offsetting from plate. The original accompanying text of this print is as follows: 'The Turkish light...

A scarce and small ancient Roman gold Medusa cameo ring, circa 2nd to 3rd century AD. The carved layered onyx gemstone is white in colour and depicts the bust of Medusa engraved wit...

Star Wars 1977 Vintage Lobby Card #4 Size: 10×14″ inches / 25 x 35 cm Star Wars (retroactively titled Star Wars: Episode IV – A New Hope) is a...

In Greek mythology, Medusa, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Medusa was beheaded by the Greek hero...

Running in Front of Church (Sidewinder) - 2005 Edition of 5 plus 2 Artist Proofs. 4 pieces, 82x101 each, installed including gaps 170x210cm. 4 analog C-Prints, hand-printed by the...

Dagger L: 27.8 cm, Luniform bronze, possibly a belt buckle L: 10.8 cm, Shield-shaped bronze with a point Diam: 6.5 cm, Pommel Diam: 3.7 cm, Violin-bow brooch L: 17.5 cm, P-Shape...

About In-folio Oblong Dimensions : 29x39 cm. Paris Atelier Crommelynck 1968 Edition #41 of 200 copies including 12 original out-of-text etchings (7 etchings, 4 etchings and aquatint...

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...

19th-Century Hand-Coloured Lithograph of Medieval Crossbow, Arrows, and Bows Description: This beautifully hand-coloured lithograph features an array of Medieval weaponry, meticulo...

RECLAIMED EXTRA LARGE FACTORY LIGHTS FROM EASTERN EUROPE These oversized industrial pendant lights once illuminated factories across eastern Euro...

Collector's Item - cane - Around 1890 Measures : Ø 3 cm - Longueur: 86cm Materials : Bambou - metal This rare bamboo cane sword remarkably combines elegance and utility. It conceal...

Medium: pochoir (after the watercolor). Printed in Paris in 1957 by Jacomet and published by the Galerie Berggruen for a rare catalogue. Image size: 6 1/4 x 3 3/4 inches (160 x 98 mm...

A sensational and exceptionally detailed Italian 18th century Giltwood and Oil on Canvas painting of Achilles at the Court of Lycomedes, in the manner of Pompeo Batoni. This impressi...

Antique Oriental Arms and Daggers Study from Maximilian in Bavaria, 1846 This exceptionally rich and visually striking 19th-century Orientalist engraving presents a comprehensive st...