Bay Area

Chic patio and garden dining set of four chairs and a round table designed by Hall Bradley for Brown Jordan. The original citron finish has a desirable aged and lightly faded patina....

a pair of Maurizio Tempestini (Italian, 1908-1960) mid-century modern alabaster table lamps in a sculpted flame design of polished white al...

This artwork titled "La Negra (The Black Woman)" from the suite "The Mujeres File" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 150/150 in pencil by the artist. The image size is 26.85 x 21.25 inches, sheet size is 29.5 x 22.15 inches, framed size is 42 x 35 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #109 page 107. Custom framed in a wooden silver frame, with silver spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Mid-20th century silver tribal cuffs, Hazara tribe, Afghanistan A pair of intricate cut-work silver cuffs worn by women of the Hazara tribe in Afghanistan. Very good workmanship and...

This Antique Cluster Ring is a gorgeous classic! Crafted in Platinum, the design features a wonderful cluster of Pave Set Diamonds, finished with lovely floral garland sides. There a...

A Regency triple pedestal mahogany banquet table, circa 1820, the oval top having band inlay, with two 23" leaves, above the triple pedestal base, having a turned standard, and risin...

Pair of original "Baffo" chairs designed by Gianni Pareschi and Ezio Didone in 1969, manufactured by Busnelli of Milan. The form and fu...

A charming English George III period inlaid mahogany tripod candle stand, the string inlaid hexagonal top supported on a turned column, terminating...

Iconic set of four laced rawhide rattan dining chairs made in the California coastal organic modern style by McGuire. The Antalya chair (model #MCLM44) f...

This is a 17th century engraved mezzotint portrait of the Duchess of St. Albans by John Smith, after a painting by Sir Godfrey Kneller. It was published in London by John Boydell in 1694. The Duchess of St. Albans (1642-1712) was a woman named Diana de Vere. She was born in 1642, the daughter of Aubrey de Vere, the 20th Earl of Oxford. In 1662, she married Charles Beauclerk, the illegitimate son of King Charles II and his mistress, Nell Gwyn. As a result of her marriage, Diana became the Duchess of St. Albans, and she and Charles had several children together. Diana was known for her beauty and charm, and she was a prominent figure in the court of King Charles II. Despite her husband's illegitimate birth, Diana was highly respected in the royal court and was known for her intelligence and wit. She was a patron of the arts and supported many artists and writers of the time. Diana lived through a tumultuous period of English history, including the Great Fire of London and the Glorious Revolution, which saw King James II replaced by William of Orange. She died in 1712 at the age of 70 and was buried in Westminster Abbey. Descendants of Diana and her husband, who was an illegitimate son of King Charles II, include Diana, Princess of Wales and her son William, Duke of Cambridge. An author wrote of her: "The line of Vere, so long renown’d in arms, Concludes with luster in St. Albans’s charms; Her conquering eyes have made their race complete, It rose in valor, and in beauty set." This striking mezzotint engraving depicts Diana, Duchess of St Albans in a three-quarter length pose, standing, wearing loose flowing dress and a wrap. She has a very serene, calm appearance as she is looking straight at the viewer. There is a landscape of trees in the background. The print is adhered in the corners to an archival backing, which is itself adhered in the upper corners to a larger backing. The print is trimmed to just beyond the plate mark. There are areas of discoloration in the margins and in the inscription area, but the print is otherwise in very good condition. The sheet measures 14.5" high and 10" wide. This mezzotint is held by multiple museums and institutions, including The British Museum, The National Portrait Gallery London, The Fine Arts Museum of Boston, The Lewis Walpole Library at Yale, The Yale Center for British Art, The Fitzwilliam Museum at Cambridge and The National Galleries of Scotland. The original Kneller painting is part of the British Royal Collection Trust and hangs in the King's Private Dining Room at Hampton Court Palace. Sir Godfrey Kneller (1646-1723) was a leading portrait painter of his time, particularly renowned for his depictions of the British aristocracy and royalty. He was born in Lübeck, Germany, and trained in Amsterdam under the painter Ferdinand Bol...

This is an original 19th century John James Audubon hand colored lithograph entitled "Raccoon", No. 13, Plate LXI, 61, from Audubon's "Quadrupeds of North America", printed and color...

This artwork titled "Arch of Titus" created 1923 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil at the lower center by the artist's estat...

Rare and whimsical pair of patinated bronze table lamps by Maitland-Smith depicting a monkey jockey riding a large ostrich. The bronzes are mounted to a dark tessellated stone plinth...

Mid century corner table designed by Milo Baughman for Glenn of California in walnut. This piece includes two glass shelves and a remova...

Henning Kjærnulf began his design career working with renowned Danish furniture makers such as Bruno Hansen, Poul Hundevad, and Vejen Møbelfabrik. Strongly influenced by American mod...

Victorian rosewood 4-tier what-not shelf with well grained shelves, lipped over shaped aprons, each raised on well executed, barley twist risers capped with turned finials. The upper...

An English Georgian period red japanned pier mirror retaining an old possibly original beveled mirror plate. The piece is decorated in in an elegant restrained fashion the pierced cr...

This artwork titled, "Phobeus, ce Dieu Couronne de Lauriers" from the suite, "l'Art d'Aimer d'Ovide" 1976. is an original wood engraving on Japan nacre paper by artist Salvador Dal...

GUCCI by TOM FORD SS 2001 sneakers comes in a black & red leather with a embroidered dragon print featuring a high top style and a lace up closure. Made in Italy. Includes box. Very ...

Spectacular pair of Chinese Buddhist guardian temple foo dogs or foo lions intricately crafted from bronzed metal. The lions are depicted sitting with one having a paw on a ball or o...

SEASCAPE I Diptych ( framed ) by Frank Schott from a series of photographic works capturing the sea blue color palette of the ocean 2 Panels 86.75 x 58 inches / 220.35cm x 147.3cm ...

This delicate ring features five (5) 2.5 mm round diamond encircled by a halo of 1 mm diamonds micro-prong set. Our customers love it! Experience the difference in person! Product d...

This artwork "Trois Danseuses" (Three Dancers) c.1940 is an etching in sepia on Wove paper after French artist Marie Laurencin, 1883-1956. It his signed in the plate as issue. This is a posthumous impression from the canceled plate. The image (plate mark) is 14.60 x 10.75 inches, sheet size is 16.5 x 12.85 inches. It is in excellent condition, hanging tape mark, small piece of tape and 3 small skinned area are visible on the back only. About the artist: Marie Laurencin, intimate of Braque, Picasso, Matisse and Appollinaire, was born in 1883. She held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron...

Rare 1998 Dolce & Gabbana kimono-style coat, made in soft grey wool and hand-painted with an intricate floral and bird motif. The wide, sculptural sleeves and relaxed silhouette draw...

This wonderful, whimsical, and naughty bronze by the Bergman Foundry is a real joy. Highly detailed casting and meticulously painted bronze has the added feature of a toy, you can p...

Spectacular 19th century Japanese late Edo period six-panel byobu screen depicting Yoshitsune and Benkei, two heroes of Japanese folklore. Crafted in ink and natural color pigments on mulberry paper with thick gold leaf borders on each panel. The character Yoshitsune is seated under a blossoming cherry tree in full armor holding a fan. The warrior priest or monk Benkei is depicted kneeling on a leopard skin...

Antique Dutch enameled metal farm animal feed sign featuring a bull and a rooster. Metal Folk Art sign with original enamel finish and a patinated metal p...

Origin: Scotland Designer: Val Rossi Manufacturer: McIntosh Era: 1960s Materials: Teak Dimensions: 79” wide x 18” deep x 30” tall Condition: In good ...

1960s Sequin and Beaded Knit Dress. Hand embellished on knit dress. Fully lined, metal back zipper.

Gordon Martz design ceramic hexagonal incised table lamp in very good original condition, signed.

Vintage cut heart shape diamond with 3 euro.Round cut diamonds on each side. 14k white gold setting and circle link chain. Consisting of: .95ct. heart cut vintage diamond Clarity...

Low Kotatsu table circa 1930s, hand crafted without the use of nails or adhesive but relying on the joinery to give the table its structural integrity. Having a nice patina from over...

Large Dogon ladder, Mali Wood Early to mid-20th century Measures: 75.5 x 14 in. / 192 x 36 cm With a textured, eroded patina, this ladder was originally used outdoors. Ca...

C. 20th Century Dome Top Trunk w/ Embossed Metal Star Design on stand w/ Casters. Original Papered Shelf Insert Brass Banding.

Stunning 1940s Mainbocher Inc black skirt in a lightweight fabric (seems like a light wool crepe) with a plethora of tassels in a chevron pattern at front waist. Side zip with snaps ...

This artwork titled "Charleston's Garden Perfume" is an oil painting on canvas by noted Canadian artist Guy Begin, born 1944. It is signed at the lower right corner by the artist. Th...

A Mid-Century Modern Brutalist wall sculpture by San Francisco based artist Shuko Kobayashi. Appears to be a resin casting mounted to a wood frame and backing. Signed lower left corn...

Danish teak side table by Hans J. Wegner for Andreas Tuck, Model AT-33 . The table crafted of solid teak features two drop leaves, a drawer with built in compartments for sewing mate...

Keith Haring (1958–1990) 'Into 84' / Tony Shafrazi Gallery, 1984 Lithograph in colors Plate signed lower right, signed in silver ink lower right on figures foot Sheet 35⅛ in H × 23⅛ ...

Impressive set of three mid-century modern marble pedestal stands crafted from Italian Verdi Alpi having a deep green brecciated finish. The pedestals have a square form constructed ...

Glorious set of twelve Swedish dining chairs crafted in the Louis XVI Gustavian taste. The chairs feature beech frames that have been painted or glazed with an intentionally distressed and faded patina to mimic age. The grey painted frames have a sculptural flared back ending with a scroll. The generous seats have carved rosettes on the front apron corners and decorative red accents throughout the frames. The seats are supported by fluted, tapered legs. The chairs have been recently reupholstered in a neutral muslin style fabric. The chairs are sturdy and strong with excellent joinery and craftsmanship. Sold as a set of twelve chairs. Erin Lane Estate...

You have to hand it to the bull. Not just taking Europa with his unassailable power (he is Zeus in disguise, after all) he brings along a retinue for his seduction of the beautiful P...

Charles B. Cobb California Studio geometric floor sculpture . Glass rectangular panel supported by two geometric, pyramid forms. Various imperfections. 50.5 inches high. 36 inches w...

Imposing molded stone patio and garden dining table featuring a tulip shaped bulbous formed base decorated with acanthus in the neoclassical taste. The base is very heavy with an org...

Another charming painting of Lord Krishna and his paramour Radha along with her consort seated in an elaborate pavilion while having a gestured conversation. The interior setting is...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Introducing UMA Mini, the newest addition to the UMA family, and now more portable than ever to travel with you anywhere you go. The revolutionary UMA Mini Lantern...

Sophisticated brass square frame bench designed by Edward Wormley for Dunbar. Very good original condition, Model #5428.

This is a hand-colored copper plate engraving entitled "Pulegium Cervinum, Pseudo Pulegium Struthium, Pulegium Regium", depicting flowering Peppermint, Weld and Pennyroyal plants respectively from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This beautiful colorful engraving is printed on thin laid chain-linked paper. There are subtle creases in the right upper corner, very common with Besler's relating to the drying of the paper during its production. The right margin is thinner than the others. The print is otherwise in excellent condition with striking hand-coloring. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

Danish Teak rocking chair designed by Hans Olsen for Juul Kristensen, 1955, Denmark. The chair is crafted of solid teak with woven cane seat and back. The chair has been lightly clea...

Country French provincial or Louis XV style pair of painted fauteuil armchairs. The set features a generous seating area with a vintage butte...

This is an original 19th century hand-colored lithograph entitled "Approach to Mount Sinai Wady Barah Feby 17th 1839" by David Roberts, Plate 122 in Volume III of his Egypt and Nubia...

A vintage studio pottery vase in the shape of an acorn squash by Patricia Garrett of Berkeley, California. Part of her "Great Impressions" series, fea...

New as of Jan. 1, 2025. This is a brand-new addition to the artist's ever-growing series of foggy woods in northern California near San Francisco. These tall eucalyptus trees are the...

A beech framed armchair by Axel Larsson. The frame has been lightly restored. Recovered in a Sandra Jordan Prima Alpaca Brandy fabric with horizontal piping.

Each beautifully decorated chest with concave top with canted corners above a conforming body fitted with 2 short over 2 long drawers all raised on splayed bracket feet; with overall red ground and gilt decorated chinoiserie motifs including bird, floral and vine, architectural follies and water...

Six traditional upholstered dining chairs with a high back, square base, and brass-plated back panel. Perfectly elegant for a formal dining room. We prefer to sell all six chairs tog...

Iconic set of four rattan dining armchairs made in the California coastal organic modern style by McGuire. The chairs feature gorgeous pole bent rattan frames in a barrel back form w...

Aspen Study I by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

This artwork "Course de chevaux a Lonchamp (Horses Race in Lonchamp) c.1960, is an oil painting on canvas by noted French artist Gabriel Dauchot, 1917-1990. It is signed at the lower right corner by the artist. The canvas size is 18.65 x 7.5 inches, framed size is 21.85 x 11.85 inches. Custom framed in a wooden green frame. It is in excellent condition, the frame have a minor scratch a the lower side, barely visible. About the artist: Gabriel Dauchot was born on May 10, 1927 in Livry-Gargan 4 . Supported by the encouragement of his father, an architect, and painting from the age of fourteen 5 , Gabriel Dauchot, whose admiration goes to Maurice Utrillo and Chaïm Soutine 5 , received advice in 1940 from Émile Othon Friesz and Yves Brayer at the Académie de la Grande Chaumière , then entered the École nationale supérieure des beaux-arts in 1942 . He participated in Parisian Salons from his youth and was not yet twenty when the Katia Granoff 6 gallery , then the Cardo 7 gallery , organized his first personal exhibitions. “The winner is under thirty years old” observes Claude Roger-Marx , who does not fail to note “the atmosphere of disguise which is dear to him” as well as “the muted truculence which he gives to the opaque backgrounds where sing with distinction cold grays, greens, carmines and saffron” 8 when in 1951 the prize from the Society of Collectors and Art Lovers was awarded to Gabriel Dauchot. Waldemar George observed in the 1950s that if "his early works were treated in a realistic style which sometimes borders on populism, the painter tries to free himself from it and reacts against a literary art...