33 results for "blue depression glass"

A set of three bright blue faceted antique depression glass champagne coupe glasses. A wonderful set that will add a pop of color to any bar. ...

Paneled American glass pitcher. Vintage clear Heisey glass pitcher with bulbous paneled form and cut starburst to bottom with trademark for A.H. Heisey ...

The Farmer's Wife (American Depression) - 2004 50 x 49 cm Edition of 10 plus two artist Proofs. Archival C-Print based on the Polaroid. Signature label and Certificate. Artist In...

Small Porcelain Blue Flowers Oyster Plate Limoges, circa 1900. 7.5 inches diameter.

Italian Murano glass 'Opalino' serving or dipping bowl by Antonio da Ros for Cenedese, Italy, circa 1970-1990. Wonderful translucent color of smoked grey. Simplistic yet elegant form - almost futuristic. Very fun to dine with this rare piece of Murano glassware...

An Art Deco hand-painted ceramic figure of a fawn manufactured in Italy by Egisto Fantechi in Sesto Fiorentino in the Thirties. It's a lovely example o...

This set of 12 large rimmed soup bowls dating from 1882, are hand painted and gilded showcasing the expert talent of the Minton factory. Retailed by Gilman, Collamore, NY., the Tiffa...

Art Deco ashtray, made by Hermès Paris and designed by Jean Luce (1895-1965). Made in cooked leather and mirrored glass. Signed by Hermes Paris. France, CIRCA 1930.

Industrial Wasteland (American Depression) - 2017 “How can we live without our lives? How will we know it's us without our past?” ― John Steinbeck, The Grapes of Wrath 24x20cm, Edi...

This refined 19th-century Wedgwood teapot is an exceptional example of English porcelain, hand-painted with an elegant bamboo motif emblematic of the Aesthetic Movement. The teapot f...

Vintage Empoli glass decanter with stopper. In cadmium blue colour and with textured ribbed surface. Both the decanter and stopper are in excellen...

This remarkable Art Deco vase, designed by the legendary René Lalique and crafted in France circa 1935, is a stunning example of his innovative artistry and mastery of glassmaking. T...

A very nice modernist toothpick / cigarette holder by Russel Wright for Chase & Co., circa 1940s. The stainless steel design features a 3" round cup on a cobalt blue sheet of mirrore...

A great New york City street scene in a modernist realist style. done in the the great depression period. Mat is 17.5x14, sheet measures 13x10 image is 10x4.75 Joseph Solman (Janua...

An Aesthetic Movement French Faïence asparagus plate, Keller & Guerin St. Clément, circa 1880 in the Art Nouveau style. A border of Cyclamen flowers and leaves encircle three asp...

Fabulous deep cobalt blue with red at the base Bullicante (trapped air bubbles) bowl dish hand blown by Goran Warff for Kosta Boda c1970. Polished pontil and signed on the base. Very...

Elevate your space with these striking Czechoslovakian mercury glass candlestick holders. Featuring a cobalt blue base and silvered accents, these pieces showcase the rich craftsmans...

Opalescent molded glass box decorated with cicadas. This model was created in 1921. The glassware is in perfect condition. The satin background is original and requires restoration...

Brilliantly glazed in a vivid, jade green glaze, this large and rare wall-mounted shallow bowl was designed by Waylande Gregory for Cowan Pottery at the height of its success during ...

Clipper ship etched glass bowl. Vintage clear glass bowl plate with convex curve down to bottom with underside etched with clipper ship. United State...

Art deco lamp around 1930. Foot in wrought iron attributed to Fag (Marcel Vasseur). Tulip in glass paste signed Schneider. Electrified and in perfect condition. Height : 31.5 ...

Mid-Century Danish Labrador Series Glass Vase by Per Lütken for Holmegaard, 1950s, in Very Good conditions. Designed 1950 to 1959 This piece has an attribution mark. Additional info...

Featuring a relatively heavy fringe of dangling Russian-gilt brass bars and contrasting French-blue textural hand-pressed glass beads topped with filigree caps to resemble flower bud...

What a Life, c. 1930, mixed media on board, 18 x 24 inches, signed lower left; titled on label; exhibited at The San Francisco Art Association Fifty-Second Annual Exhibition at the P...

Original 1937 US One-Sheet Poster Manhattan Merry-Go-Round Featuring Joe DiMaggio. The film starred Jackie Gleason, Gene Autry, Leo Carrillo, Louie Prima, and Cab Calloway. And in...

A chromium-rich titanium alloy fuses to the relief and produces an ice-silver face that never tarnishes. The high-end glass platter measures 19.29 in (490 mm) and weighs 11 lb (5 kg)...

Jim’s of Lambertville is proud to offer this artwork by: James Lechay (1907 – 2001) Born in the Bronx in 1907, James Lechay spent most of his childhood in Brooklyn before moving to Joilet, Illinois at age 13 to live with his uncle after his mother passed away. In 1928, he received his B.A. in psychology from the University of Illinois. The next year, he attended one week of graduate school before leaving to study under his brother, the painter Myron Lechay, in New York. At his brother’s studio, James began to associate with other artists of the time such as Milton Avery, Mark Rothko, Arshile Gorky, William Zorach, and Raphael and Moses Soyer. From Myron, James Lechay learned to train his eye to observe natural forms and developed a philosophy dependent upon the relationship built between the artist and the subject. Lechay became engaged in the social and political issues of Depression-era New York and even joined the social realism movement for a brief time in the 1930s. He operated as the leader of the Artists Union while employed by the Works Progress Administration (WPA). With the WPA, Lechay traveled to Las Vegas, New Mexico, where he established a gallery and exhibited the works of Milton Avery, Max Weber, and other WPA artists. Despite his association with many artists and artistic communities in New York in the 1930s and 40s, Lechay opposed adopting a style due to its popularity and commercial success. His use, however, of large brushstrokes from Abstract Expressionism, the flattened plane of Modernism, and the simple compositions of early Abstraction created a combination of styles completely his own. A painter of a vast range of subjects, including still lifes, portraits, and landscapes, Lechay was known to reduce these forms to their visual essentials. Lechay often did not date his paintings as he frequently reworked them, even after they were exhibited, calling his pieces, “finished at all stages and never finished”. In 1945, Lechay was hired by the University of Iowa’s art department, where he worked alongside Mauricio Lasansky, Humbert Albrizio, Carl Fracassini, and Byron Burford...

Blossoms unfold like fragments of a dream, their forms so singular they escape repetition. Each petal, a vessel of light, drifts through the garden’s stillness as if guided by unseen...

HERMAN VOLZ (Swiss/American 1904 - 1990) THE PARTISAN, 1937 Lithograph, signed and no. in pencil. Edition 30. 10 1/2 x 14. Sheet 11 1/4 x 17 1/2" Generally good condition aside fro...

Classic American Depression-Era subject meets the French landscape? Clearly Guyer was looking at both Jean-Francois Millet and Vincent Van Gogh, who together informed this image. And...

Duane Paul's work can best be characterized as innovative, dynamic and intimate. His sculptures each employ colorful organic shapes, which act as a personal language. The playful and...

Full of verdant greens and suffused with a lovely quiet spirit, this depiction of Pan resting against a tree and playing his pipes was a perfect image for the famous Liberty Music Shop in New York. This sketch for a mural at the Shop was painted by Donald Forbes, who worked for the Federal Art Project in the 1930s where he would have learned from the work of other muralists supported by federal programs. Liberty Music Shop was famous for its collection of sophisticated jazz recordings from around the world; in the 1930s it created its own label, producing a series of records for Lee Wiley, Beatrice Lillie, Mabel Mercer, Ethel Merman...

FACTORY / HOUSE: Howard & Co., New York STYLE / REFERENCE: Art Deco / Wrist Watch / Custom Conversion to a wrist watch METAL / MATERIAL: Steel with Exhibition Back CIRCA / YEAR: 1921 Movement / European Case from 1980's DIMENSIONS / SIZE: Length 56mm x Diameter 44mm MOVEMENT / CALIBER: Manual Winding / 19 Jewels DIAL / HANDS: Two Tone Dial / Blued Steel Spade and Pointer Hands ATTACHMENT / LENGTH: Alligator, 22mm / Regular Length WARRANTY: 18 months on the movement LIFETIME SERVICE COMMITMENT One of the most respected names in American watch making, was the house founded by Edward Howard in Boston Massachusetts in 1858. Howard was an exceptional watchmaker who had worked originally for the Willard Clock Company. Willard was the premier American clock maker and advanced American horology. Howard’s exceptional designs and innovations helped establish America as a watchmaking capital along with the Waltham Watch Company. Howard’s creativity helped establish the principles of industrialization and standardized parts. Howards watches were rugged and very accurate as well. Their case designs were innovative as well. Howard watches were used by scientists and engineers in military and industry because they were rugged and dependable. In 1903, the Howard Watch Company was acquired by the Keystone Watch Case Company. Keystone continued to produce Howard watches under the Howard brand name until 1935. By that time the great depression had taken its toll on all but the most robust watch companies. During the 1920’s Howard produced the 12-size caliber which was a beautifully finished watch that kept exceptional time. It was also one of the few American watches that met most of the standards of what is called a “Geneva Seal...