Ohio

This beautiful ring features a 0.35 carat oval alexandrite gemstone with natural earth mined diamonds, all set in solid 14K gold. This color changing alexandrite is a green/blue colo...

Simplicity meets elegance with our Colombian Emerald Ring. Crafted from solid 14K Yellow Gold and showcasing a stunning emerald cut 6x4mm emerald, this ring is the perfect addition t...

Designer Getana & Co. This ring is a gorgeous light blue apatite slice with a diamond halo. This ring practically glows. Oval-ish apatite approximately 20...

Avril (April) Color aquatint and etching, c. 1906 Signed in pencil lower right Edition: c. 100 Excellent impression, fresh colors Reference: Merrill Chase Volume 1, No. 9 Condition: ...

A very well artisan crafted Mid-Century Modern 925 sterling silver concave pin back or hanging necklace in the brooch pendent style giving the wearer two choices in wear ability. The...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artis...

Oiseau solaire, oiseau lunaire, etincelles (Solar Bird, Lunar Bird, Sparks) Color lithograph, 1967 Published in "Revue XXe Siecle, Volume 28 Published by San Lazzaro Printed by A. Ma...

This striking amphora Art Nouveau vase was made in the Turn-Teplitz region of Bohemia by Riessner, Stellmacher & Kessel, established in 1892. The vase has an ovoid form with a thick molded floral and foliate band located at the neck. The body of the vase rests upon a raised pedestal foot decorated with a series of intertwined stylized roots. The neck and foot have been glazed in a matte green color with burnished gold highlights. The body of the vase is flanked by a pair of arched gilded handles made in the form of naturalistic woody branches. The body of the vase has been finished in a mottled matte glaze executed in a dull gold color enabling the cream color beneath to show through. The center of the vase transitions to a violet hue which is covered by a high glaze iridescent band having pink and purple undertones. The iridescent band features an armorial crest executed in black accented with gilded details. The crest itself consists of a checkerboard shield surmounted by a trio of stylized flowers with a spade motif, all of which are flanked by lions rampant. The design includes a series of large dots arrayed in a symmetrical manner. The opposite side of the vase echoes the motif found on the front and has a checkerboard shield, nine spade-shaped flowers and several dots. The vase is in excellent condition with no chips, cracks or repairs. As an antique item, the piece shows minor signs of age and use consisting of wear to the gilded decoration. The vase stands 11.75" tall and is 2.25" across the mouth. The foot is just over 5" in diameter and bears impressed marks including a circular ''Imperial Amphora Turn...

C. 1900 Late Victorian American Tiger Oak Buffet, Server, Sideboard or Bar Cabinet. Features a buffet portion with a large serving drawer over two sma...

Double sided crayon drawing: Front: Study for "The Shoe" Reverse: Studies of Figures Blue crayon, red and black crayons Image size: 19.25 x 15.375 inches Frame size: 30 x 25 1/2 inch...

Anyone will say "YES" to this gorgeous ring!! Sparkle galore!! Also a great upgrade! Beautiful pear shape diamond approximately 9.2mm x 6.87mm x 4.16mm. 1.69 total diamond weight. ...

Derrier le Miroir, cover, Volume 141 Original color lithograph, 1963 Unsigned and unnumbered (as issued) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Condition: E...

This 2-carat orange sapphire is bringing the heat! Surrounded by a twinkling floral diamond halo and wrapped in a real 14k gold bypass band, this certified ring has got drama, glam, ...

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he cleaned all the sewers leading...

Doorway in the Temple of Kalabshe, Nubia Original gold toned albumin photograph, c. 1862 Unsigned as is usual From: Upper Egypt and Ethiopia, c. 1862, Vol 1, (36 plates) Published by...

Pair of modern chrome floor lamps with mirrored center post. Polished base measures 9" x 9" and sits on four chrome disks. Height adjusts from 58.5" - 62". Two original sockets and p...

This early 20th century Newcome College art pottery vase was decorated by Anna Francis Simpson. Newcome pottery is considered American art potteries of the early 20th century. The bl...

Antique Empire game / card / parlor table. Made of Flamed Mahogany featuring an ebonized top and two drawers within the frieze with and beaded accents. The table is supported by sq...

This beautiful ring features a 3.86 carat round ruby gemstone with natural earth mined diamonds, all set in solid 14K gold. This ring can be a lovely July birthstone gift for your lo...

Circa early 20th century pastel landscape painting depicting a lush country landscape cut by a small stream. Signed in lower right, attributed to William Henry Chandler. Beveled wood...

This White Oak Cove Coffee Table is made in the heart of Ohio with locally sourced wood. Each table is hand-made with mitered corners from white oak veneer and finished with a beauti...

This exquisite ring features a captivating cornflower blue sapphire at its center, embraced by a halo of natural diamonds. Accented with baguette and round diamonds, it’s crafted in solid 14k white gold for timeless elegance and refined sophistication. "A cornflower blue sapphire ring...

Mid-century modern 1970's bar cabinet by Guy Lefevre for Maison Jansen in a cream colored glossy lacquer with an Asian inspired frame and door pulls. The cabinet has 2 doors, an open...

This beautiful piece is perfect for the Fall season and will be great throughout the year with any outfit! 14 karat yellow gold cable chain- 16 inches long. Three colored sapphires w...

Extraordinary Find. Original Lucite Bases support a monumental Glass top. Jeffrey Bigelow.

Beautiful reupholstered emerald green dark walnut MCM accent chair!! This chair was reupholstered in a emerald green velvet fabric by Anna Elisabeth. ...

Untitled Color lithograph, 1963 Unsigned (as issued) From:Derriere le Miroir, Volume 141 Large unsigned edition Printed by Mourlot, Paris Published by Aime Maeght, Paris Condition: C...

Young Lady in Profile (Dorothy Gibson) Graphite on paper, c. 1915 Signed lower right (see photo). The sitter for this drawing, along with a huge number of Harrison Fisher’s works, i...

A black wrought iron framed lounge chair having black leather strap arms and brass hardware with the seat back and bottom upholstered in a soft and supple black leather. The back res...

Annual Edition, 1994 Screen print, 1994 Signed and dated in pencil by the artist. Small edition Dedicated in pencil by the artist "For Bart and Ann" Created as a gift to the artist'...

Reclining Nude on Bed Lithograph, c. 1910 Signed in pencil lower right and in the plate, lower right Image size: 7-1/4 x 13" Sheet size: 12 1/2 x 19 inches Condition: very good Some aging to the tan paper Provenance: Estate of the Artist Borghi & Company, New York Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

Multi-color design spongeware umbrella stand. Cream color with blue and brown accents. Good condition for umbrella stand. No notable chips, scratches or other issues.

untitled (Young Woman Washing) Lithograph, c. 1910 Signed in pencil lower right; signed in the plate lower right (see photo) Image size: 11 x 5-1/8" Sheet size: 18 7/8 x 12 5/8 inches Condition: Very good Aging to the tan paper it is printed on Provenance: Estate of the Artist Borghi & Company, NYC Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

America's Mom II (Small Leticia) Lithograph, 2016 Signed and numbered in pencil by the artist Series: America's Family II (Four images) Edition: 40, of which 20 were retained by the ...

A very well crafted Etagere with clear Lucite posts straddled by hardened bamboo pieces woven to each corner making for nice detailed construction . Five glass shelves that include t...

Doves and Butterflies on Scored Gold...Peace Plan

A well crafted candlestick center piece in a mixed blue toned copper enameled metal with step down design and three copper candle holders. The holders have great age and patina which...

French Style Iron Gold Oval Coffee Table. 1960's - 1970's Black and gold at side of table. Small areas where black and gold paint are worn bu...

Delicate yet full of charm, these pink tourmaline solitaire studs in solid 14k rose gold are a sweet expression of love. Featuring 3mm round gemstones in a secure 4-prong setting, th...

A very nice hand cut and polished Bohemian glass vase in a cream white and lemon color . This vase depicts pineapples and palm trees which is very different for the typical Bohemian ...

Set of 48 pieces of elegant Libbey stemware manufactured by the Libbey Glass Company, circa 1930's in the Malmaison Pattern. 8 pieces each of glasses: ...

Dante's View, Death Valley Gelatin silver print, (1938), printed in 1981 Unsigned Signed with the estate stamp verso (see photo) A lifetime printing by Brett Weston (1953-1954), supe...

Unique pair of hourglass shaped pedestals or side tables. Each is made from inlaid slivers that are patterned in a swirl shape and lead to a painted top, affixed with glass. Dimens...

[recto];untitled (Sketches for Still Unsigned 9 1/2 x 12 inches (24.2 x 30.6 cm.)

A rare 1.43-carat cushion-cut grey spinel from Madagascar takes center stage in this refined 14K rose gold ring. Its smoky, silvery hue shifts with the light, offering quiet depth an...

This captivating ring features a luminous 7.11ct oval Ethiopian opal (16.8x13.2mm), celebrated for its vivid play of color. Set in 14k gold (4.31g), the opal is accented by 14 sparkl...

Necklace Length: 20 inches (50.8 cm). Bead Size: 16.5 mm smooth, round beads of the highest quality. Total Weight: 178 grams (6.3 oz). This necklace features beads with a unique and...

A lovely antique Victorian Era bed frame. Features a paneled pine frame with floral painted accents and scrollwork. Dimensions: 65.5" x 54" x 80", rail height 14" to 18"

Darius at 10 Drypoint, 2022 Signed, titled and numbered in pencil Printed by Rebekah Wilhelm Her drystamp lower right Published by the artist Edition 14, plus proofs Condition: Excel...

This 1970 sofa designed by Richard Schultz for Knoll features a leather cushioned front and back, and was created with modular sections that hang from a ste...

Untitled (Reclining nude, face down) Lithograph, 1944 Signed and dated lower right in pencil Image size: 8 13/16 x 11 7/8 inches Sheet Size: 11 1/8 x 18 3/4 inches Condition: Aging ...

Elegant 14k solid gold stud earrings featuring brilliant round 4mm sky blue topaz gemstones. Their sparkling, sky-blue hue adds a timeless touch of sophistication to any look. "Sky...

Antique French oval miniature painting on porcelain. Thee ladies and a gentleman gathering in a parlor. Very nice to excellent condition. Fabric on the ...

A hard to find satin white iron etagere or bookcase with pebbled glass shelves and X cross bracing a perfect companion to any Woodard furniture and great for finishing off your three...

Viva, Warhol and Ultra Violet Collage on board, 1973 Signed with estate stamp on reverse (see photo) The original photograph used in this collage depicts Viva (Susan Hoffman, born 19...

A pair of exquisite 14K gold earrings showcasing emerald‑cut tanzanite centers (~2 to 3.79 carats total, approx. 8×6 mm), sourced from Tanzania. They are beautifully framed by 40 dia...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...