Ohio

Primitive antique oak divided cutlery / knife tray / box / trug with raised carved center divider and hand cut dovetailed corners. Dimensions: 12.75" x 8.75" x 6.25" (Width x Depth ...

Man on His Back, Nude Lithograph, c. 1916 Signed by the artist lower right: Geo Bellows (see photo) Annotated bottom left: No. 3 by the artist (see photo) An unredorded trial proof b...

This elegant matched seven-piece Modernist coffee or tea set is made of sterling silver and rosewood. The set includes a coffee pot, tea pot, pitcher, cream jug, and covered sugar bo...

Vintage Baker Furniture Stately Homes Queen Anne sideboard / buffet / credenza / console / sofa table. Made of mahogany featuring rectangular form with five drawers and crossbanding...

August Frederick Biehle (1885-1979) Woods Interior, Berlin Heights, 1920 Gouache and colored pencil on paper Signed and dated lower right 17 x 23 inches 23.25 x 29.25 inches, framed ...

Vintage Chinese Famille Rose bright colorful ceramic garden seat, stool or occasional side table. Features a round and oblong body with the overall shape tapering slightly at the top...

This double strand of natural jadeite jade beads will make a statement with any outfit! Knotted. 62 dark green beads, each approximately 11.3mm to 15.4mm. 14KY spring ring clasp. Nec...

20th century hand carved folk art wooden cat form sculpture or statue. Features a knockdown design with elegant form. Features pointy claws, curled tale an...

Anna Maria Cammilli hand made gold necklace. The Necklace, in the style of a Ruff Collar, fashioned in 18k yellow gold with both a mat and mirror f...

African Carved Wood Makonde Mask Heavy wood carved ceremonial mask symbolizing an ancestor 16.5 x 8 x 10 inches A carved ceremonial mask symbolizing an ancestor, this African facial...

Edwin Mieczkowski (American, 1929-2017) Curved Dimensions, 1965 Acrylic on board Signed, dated and titled verso 30 x 29.75 inches Edwin Mieczkowski, born in Pittsburgh, was a leader of geometric and perceptual abstraction during the latter part of the 20th century. Mieczkowski's work first came to prominence in "The Responsive Eye" exhibition, the nation's first major exhibition of perceptual art, held at the Museum of Modern Art in New York in 1965. Mieczkowski was also featured in the 1964 article in Timemagazine that first used the term "Op Art" to describe paintings that manipulated visual cues in order to reorder and excite viewers' perceptual responses. With a complex aesthetic that over time has transcended mere tricks of optical art, Mieczkowski has spent nearly four decades producing geometrically paintings, drawings and sculptures, a genre of modern art that is known broadly as perceptual abstraction. His output of static and dynamic forms create a body of work, still largely intact, that uses visually disorienting, meticulously arranged lines, dazzling kaleidoscopic colors, and alluring juxtapositions of hue and tone, to playfully and seductively present new challenges for the viewer's eyes. The desired result is an optical effect of perpetual motion, harmonics and rhythm. . . . Along with Frank Hewitt and Ernst Benkert, Mieczkowski was a co-founder in 1959 of the Anonima* group that worked together in Cleveland and New York and declared itself free from the pressures of the art market and the pursuit of personal fame. Members of Anonima often left their works unsigned and vowed to shun the usual art market venues such as commercial galleries, biennials and competitions. Instead, they engaged in a rigorous, self-imposed program of painting exercises to explore the effects of geometry and color on visual perception. Although Mieczkowski's work hung side-by-side in the MOMA "Responsive Eye" exhibition with such colleagues as Josef Albers, Victor Vasarely, Richard Anuszkiewicz, Morris Louis, Kenneth Noland, Carlos Cruz...

Elizabeth Locke 19 karat yellow gold Oval labradorite approximately 18mm x 10mm Two south sea black pearls, approximately 9.5-10.0mm Six round blue sapphires, approximately 2.5mm each Double pin hinged clasp with safety Can be worn horizontal or vertical Stamped with Elizabeth Locke jewelers mark...

Bertu Counter Stools, Brinx Wood Counter Stool, Solid Why buy BERTU stumps? KILN DRIED Our stumps all go through a drying process in our kiln, sometim...

Vintage Spruce Grouse game bird taxidermy mount on driftwood base. Dimensions: 14" x 7" x 12.5" (Width x Depth x Height)

Large mirror by Jack Van Der Molen. In great condition, the mirror itself has a "dirty" look to it, but it is its style or age (see fifth picture). ...

Extraordinary 18th century English oak pub bench / settee / sofa. A rectangular form with high back and red velvet upholstery. Features Gothic revival pane...

Bertu Stool, Tulum Black Wood Stool, Red Cedar Why buy Bertu Home stumps? Kiln Dried Our stumps and stools all go through a drying process in our k...

Lot of 106 mid century die cast lead, podfoot style toy soldiers by the Barclay Manufacturing Company. "The Barclay Manufacturing Company was an American metal toy company based in New Jersey that specialised in diecast toy cars and hollowcast toy soldiers. Due to their common availability at five and dime stores, collectors often refer to Barclay's toy soldiers as "Dimestore soldiers". Barclay Manufacturing was formed by Leon Donze and Michael Levy in about 1922. In its heyday Barclay produced 500,000 toys a week, making them the largest toy soldier manufacturer at that time in the United States. In 1939 Barclay acquired another toy soldier company, Tommy Toy and its art deco sculptor Olive Kooken. Some of Barclay's first vehicles were slush cast white metal made in the 1930s. Also about this time, and into the 1940s, the company made a variety of military vehicles – tanks, trucks with cannon and other cars painted brown. Despite the inroads of plastic toy soldiers, Barclay kept manufacturing theirs in metal. Following the war, Barclay changed the helmets on their soldiers to the M1 Helmet. In about 1951 Barclay conserved metal by eliminating bases on their soldiers, which collectors nicknamed podfoot soldiers because each foot appeared as a flattened rounded blob. These were painted similar to figures in American comic books of the time – olive drab uniforms with green helmets with "enemy" soldiers in red uniforms with white helmets. In 1960, the lead soldiers...

An exquisite 18th Century reproduction in the form of a mahogany bachelors chest by Arthur Brett. Features a faux 2 over 4 drawer graduated design which draws forward and slides back...

Marie Martelli-Chautard (French, 1884-1982) Afternoon in the Park Oil on panel Signed lower right 47 x 31 inches 52 x 36.5 inches, framed

From designer Carlo Weingrill, this wearable set is contemporary without being pretentious. A beautiful ribbed design that is comfortable to wear. This is being sold as a set with ...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

The necklace is 18 inches (45.7 cm) long, and the smooth round beads are 19 mm in size. The beads are a beautiful blue-green color. We are guaranteed 100% natural Mozambique Amazonit...

The length of the necklace is 18 inches (45.7 cm). The rare size of the smooth round beads is 20 mm. The color of the beads is a soft, pale, peachy pink. Very gentle, soft pastel colors! Huge statement...

Vintage Baker Furniture Thomas Pheasant Collection Ritz dining side chair. This chair was inspired by the salon chairs of the 1940s. Thomas Pheasant develops the idea of a largely w...

Early 20th century rustic early American / country farmhouse / Shaker style milking stool / foot rest featuring Adirondack log form carved legs, bowed top and a simple jute rope seat...

CraftAssociates Dining Tables, Milo Baughman Modern Rosewood Dining Table The Milo Baughman Round Dining Table for Craft Associates® Furni...

Rolf Stoll (American, 1892-1978) Kae Dorn Cass, 1940 Oil on canvas Signed upper right 32 x 25 inches 38 x 31 inches, framed Exhibited: The 27th Annual May Show, Cleveland Museum of Art, Cleveland, OH, 1940 This work won first prize for oil painting- Portrait category Provenance: Collection of Kae Dorn Cass's niece Kae Dorn Cass Rolf Stoll Rolf Stoll, a painter of figure subjects, landscapes and floral still lifes, was an important member of the Cleveland art scene during the second quarter of the century. He was also an influential teacher, as well as one of Ohio’s foremost portrait painters. Rolf Stoll was born in Heidelberg, Germany, in 1892. As a boy, he attended a military academy, during which time he developed an interest in art. He received his early formal training at the Academy of Fine Arts in Karlsruhe and at the Academy of Fine Arts in Stuttgart. He emigrated to the United States in 1912, settling in New York City. A decade later, after studying at the school of the National Academy of Design and supporting himself by working as a commercial artist, Stoll decided to leave New York. Upon the recommendation of Warren Pryor, one of his teachers, he decided to move to Cleveland, Ohio. After arriving in Cleveland, Rolf Stoll continued to work as a commercial artist. However, in 1926, he joined the faculty of the Cleveland School of Art, where he taught drawing. Two years later Stoll was appointed head of the school’s portrait painting department. A talented portraitist, Stoll’s sitters included industrialists, community leaders and many prominent members of Cleveland and Ohio society, as well as over twenty faculty members from Case Western Reserve University. Stoll also gave portrait classes at the John Huntington Polytechnic Institute from 1926 to 1953. In his male portraits especially, he was admired for his ability to convey the dignity of his sitter’s professional position without sacrificing individuality. As noted by one contemporary reviewer, Stoll was a “master of rich color, a searching student of human types, a forceful portrayer of all that the face reveals of the mind and the soul.” In addition to his activity as a portraitist, Rolf Stoll painted figure subjects and floral still lifes. He was also known for his views of the Ohio countryside...

Monumental oversized French Classical figured bronze planters, circa last quarter 20th century. Perfect for display indoor or outdoor. Features figured stags on each side beneath sea...

Vintage Maitland Smith Art Deco style table lamp featuring a teardrop shaped, tessellated black marble base supporting a curving bronze s...

This exquisite early 20th century Loring Andrews sterling silver footed bowl features hand chased repoussé decoration consisting of multiple flowers, strawberries and grape clusters ...

William Mozart McVey (American, 1905-1995) Rumination Cast bronze with brown patina Signed on back foot 8 x 4 x 3 inches William McVey (12 July 1905-31 May 1995) became Cleveland's ...

This fabulous bronze peacock was made at Franz Bergman's Vienna foundry and bears the name of sculptor Bruno Zach. The highly detailed sculpture is beautifully cast and features cold painted polychrome decoration. The peacock's crested head is turned slightly to the left and its magnificent fanned tail feathers - also known as a train - are realistically rendered and arch forward as they rise. The train has splayed feathers at both ends that rest flat on the display surface, preventing instability. The feathers have been finished with white shafts and greenish-gold vanes while the ornamental black eyespots are accented with metallic rose and copper colored paint. It should be noted that the back of the bird's train is also highly detailed lending visual interest if viewed from the front or the rear. The peacock's head and body are painted in a silvery color while the painted decoration on the head includes large white masks and black eyes that are ringed in orange. The bird's angled beak is finished in yellow and has well defined upper and lower sections. The peacock's wings are positioned parallel to its body and extend back beyond the train. The outside of each wing is accented in mottled copper and black paint while the rear portions bear a series of painted copper and black stripes. The bird's thin legs are finished in gray and have black spurs at the back. Its long toes terminate in sharp black talons. The peacock is in very good condition with no replacements or repairs. As an antique, the piece shows signs of age including minor areas of paint loss that are noted for accuracy. It stands 8" at the tallest point of the train and is 11.5" as measured across the widest points of the train. The piece is 3.25" at its deepest point. The back of the train bears a partially legible Bergman amphora-shaped foundry mark with a B at the center. It is also signed 'Zach' in cast at the underside of one section of tail feathers for sculptor Bruno Zach who had a history of collaborating with Bergman to edit and cast some of his works. The peacock weighs 3lbs 2oz. This lovely antique Vienna Bronze peacock sculpture...

Richard Andres (American, 1927-2013) Naval Occurrence, c. 1963 oil on canvas signed and titled verso 24 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Bertu Bench, Suelo® Modern Wood Bench, Upholstered, Thick Weave This upholstered Suelo® Modern Wood Bench is beautifully constructed from solid wood...

Antique American Federal / Georgian style mahogany drop leaf dining table featuring rectangular form with two large drop leaves, gatelegs, and brass castors. Circa early 19th centur...

Antique Italian bombe chest, commode or entry side table. Made of mahogany with a green marble top and Rococo styling.  

Late 20th Century Club chair by Grafton Furniture. Features a French Art Deco inspired frame with curved back and scrolled arms. The chair is finishe...

Featuring a rare 0.58ct Ceylon Padparadscha sapphire in a 6x4mm setting, this ring glows with soft pink-orange hues. Set in 14k gold (2.06g) and accented by 6 diamonds (0.17cttw), it...

A pair of very well crafted lounge chairs with sculptural chromed steel flat bar frames and upholstered in a medium gray soft contract fabric . With the loose back pillow and sloped ...

Pair of rare mid 20th century French Empire / Neoclassical compote bowls featuring cast metal pedestal bases in the shape of delphins / dolphins / fish, painted in off white, balanci...

Indulge in the timeless elegance of this exquisite cream-white ultra-baroque freshwater pearl necklace. The necklace features six strands of lustrous pearls with a unique gold-plated Art Nouveau clasp...

Beautiful Milo Baughman credenza for Thayer Coggin with burl wood patchwork square tiles design. This 3-door cabinet features 4 drawers, an adjustable shelf, and sits on a chrome fin...

The length of the necklace is 18 inches (45.7 cm). The rare size of the smooth round beads is 20 mm. The tones of the beads are a wondrous golden brown, caramel gold, and silky, gorgeous, warm shades. Their tones are a symphony of the earth. The color is authentic, a gift from nature herself—no thermal or mechanical hand has altered its true soul. The tiger eye...

A very early 1st generation rope edge rare lounge height fiberglass arm shell chair with the larger rubber shock mounts having metal washers and satin black iron X base. The chair st...

Rainbow Striped Pheasant Blown-Glass Ornament Holder on back for wire ornament hook.

Pair of diminutive antique Victorian two tier wall hanging shelves, etagere stands or bookcases. Feature turned barley twist supports and spindle galleries surrounding each tier.

Royal Doulton "Victorian Lady" – A Rare Exquisite Porcelain Figurine This stunning vintage porcelain figurine, Royal Doulton’s "Victorian Lady", is a highly collectible piece designed by Leslie Harradine, one of Doulton’s most celebrated artists. Produced between 1925 and 1952, this particular example dates to 1937 and features a charming pink and purple colorway—one of fifteen recorded variations documented in Charlton’s Standard Catalogue of Royal Doulton Figurines...

Lovely bronze inkwell from Tiffany Studios in the New York Bookmark pattern. Beautifully detailed octagonal design with round lid. Marked Tiffany Studios 1094. 3" x 3" x 2 1/2" tall.

Late 19th Century Washstand. Made from solid oak with a backsplash and towel bar. Features three dovetailed drawers with brass hardware and a lower cabinet. Great for use with a w...

Antique Rookwood bud vase featuring Art Deco styling with geometric Greek Key design in teal / turquoise glaze. Circa 1930 XXX. Shape 2135. Marked with the special 50 year anniver...

Rare vintage 1989 signed Italian Florentine Capodimonte ceramic sculpture number 0720 in the shape of a male peacock with tail feathers spread, designed by Giuseppe Armani and signed...

James Earle Fraser (1876- 1953 ) bronze wall plaque of Theodore Roosevelt. Signed and dated "Fraser 1920" in the mold upper left.

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

Length: 18.5 inches (47 cm) Bead Shape: Rondelle Bead Size: 12–12.5 mm Weight: 103 grams This exquisite necklace is handcrafted from 100% natural Amazonite, sourced from Mozambique....

Mid Century French Degon Rouen ship's clock. Wall mounted brass case with painted face, Roman numerals, copper hands, fronted with thick glass. Works numbered 6 56 005042. Made in F...

Please scroll down to read IMPORTANT INSTRUCTIONS ABOUT OUR STUMPS before purchase! Why buy our stumps? KILN DRIED Our stumps all go through a drying process in our kiln, sometimes for up to a month. We are meticulous with bringing each and every log to a specific moisture level. This process helps with major cracking, long-term moisture issues, and bugs. ECO FRIENDLY In an effort to replenish the trees we use, we plant 50+ trees a year. In addition, we practice salvage logging. Where do we source these? Some of the trees fall naturally. Some have damage from severe wind, lightning, flood, disease, or other natural disturbance so they need to be cut and removed before they fall. Others are fresh cut because people want them off their land. Salvage logging may reduce erosion, reduce intensity of future wildfires, and slow buildup of pest insects. FAMILY OWNED These are made from our family to yours. Quality is of utmost importance, and we hand cut, de-bark, sand, and finish every piece with care. COMMERCIAL GRADE These stumps are meant to be loved and USED. Each is finished with a durable commercial-grade finish. This finish is tough enough for spills, kids, and holds up in hotel and hospitality settings. These tree stump tables...

The length of the necklace is 17.5 inches (44.5 cm). The size of the smooth round beads is 10 mm. Beads are a light green color. This is a naturally occurring glow-in-the-dark gemsto...

Antique 19th century Staffordshire porcelain flatback figural spill vase known as Good Companions - depicting a rural farm scene with horse and cow drinking together at an overflowin...

Antique Early American style blue painted farmhouse corner cupboard or cabinet, circa 1900s. Features quarter cut turned columns with three shelves, one drawer and lower cabinet. Mea...