South Carolina

Joseph Hecht, 'Asie (Asia) from the series Atlas', engraving, 1928, edition c. 50, Tonneau-Ryckelynck & Plumart 162. Signed and annotated 'epreuve definitive' (final proof) in pencil...

Camille Billops, 'Mondo Negro III', color etching, 2000, edition 20. Signed, dated, titled, and numbered '7/20' in pencil. A superb, richly-inked impre...

A charming and collectible piece from the renowned designer Mario Buccellati: a sterling silver letter opener adorned with a turtle motif. Enhance your collection with this unique ...

Exceptionally fine and rare antique Russian .875 fine silver hand engraved cup and saucer against a "Florentine" or matte finish with gilt interior. Make...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

18th century Italian silver leaf angel wall bracket mounted with mica and pyrite in matrix and baroque pearls. The angel artifact is originally from a historical church or palazzo i...

English lead figural fountain of musical pan with flanking plumbed flutes standing atop a circular globe and resting on an octagonal base with flanking frogs. Mid 19th Century. Fount...

Sculptural black obsidian point with natural forming indentions. The point was cut and polished to completion, but parts of this piece are left in its organic form to resemble a natu...

"Eclipse" Large group of fledgling penguins and two adult king penguins with white chests Two adult king penguins with white chests appear vibrantly amongst the fledglings in this ...

"""Riding the Calm"" Longboarders wait for waves on their colorful boards in this aerial photograph Surfers wait for the waves on their colorful boards, creating an unexpected comp...

"""Patterns in Motion"" A lone surfer stands on the sand with his board while the water laps his feet As the water laps the velvety-smooth sand, it creates ephemeral compositions, ...

"Winter Reverie Serene image of a whale surfacing against a mountain backdrop in black and white A Minke whale surfaces momentarily against the sea ice and the backdrop of mountain...

Rémy Duval, 'Parisian Balcony', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the sheet with deck...

Al Hirschfeld, 'Kris Dancer, Bali', color lithograph, 1941, edition 1,000. Signed in the stone, lower right. A fine, clean impression, with fresh colors, on cream wove paper, the ful...

"Creation" Expansive portrait of life in the stunning cattle camps of the Mundari on the banks of the Nile River In these scenes of life from South Sudan, experience the surreal, r...

"Wind Blown" Drawn to the timeless, ethereal beauty that unfolds moment to moment during visits to Sable Island and her horses, Drew's images feature the unforgettable nature of wil...

"Haven" In this award-winning image, a lone bush is encased by a delicate sand dune, as if nature has protected it in a loving embrace. The print series Dunes: Landscapes Evolving...

French Palladian painted and gilt trumeau mirror with a fluted carved cornice and flanking floral medallions. Early 19th Century. Mirror retains the original silvered glass & wood ba...

"Symphony of Light" From the angelic light streaming in from the ocean's surface to the minute movements of the horse's hooves as she swims, each element...

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...

Pair of late 18th century Italian hand-carved, gilded angels with instruments on aragonite clusters with coordinating Italian hand-carved wood fragment bases. The carved angels and ...

Boris Lovet-Lorski, Untitled (Nude with Geometric Forms), lithograph, edition 250, 1929. Signed and numbered 8 in pencil. Number 8 of Volume 1, a series of 10 lithographs published b...

Louis Lozowick, 'Tanks #1', lithograph, 1929, edition 50, Flint 39. Signed, titled, and numbered '11/50' in pencil. Signed with the artist's monogram in the stone, lower left. A superb, richly-inked impression, on cream wove paper, the full sheet with margins (3/4 to 1 7/8 inches), in excellent condition. Matted to museum standards. Image size 13 15/16 x 8 1/16 inches (355 x 204 mm), sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm). Exhibited: 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008. Literature: 'Prints and Their Creators, A World History', Carl Zigrosser, Crown Publishers Inc, 1974; 'American Lithographers...

Quite possibly one of the prettiest Antique English Edwardian period Adam style Bonheur du Jours or Ladies Writing Tables with magnificent "Adam" style marquetry inlaid urns and Welk...

Hayley Lever, 'After the Storm', also 'Sunny Afternoon', watercolor on watercolor paper, the full sheet, the image extending to the sheet edges; in very good condition. Signed 'Hayle...

Ralph M. Pearson, 'Black Hawk Country', etching, second state, edition not stated, 1912. Signed, and titled in pencil. Inscribed 'Rock River Series Second...

Ira Moskowitz, 'The Three Gods of Healing (Navajo Medicine Ceremony of the Night Chant)', lithograph, 1945, edition 30, Czestochowski 148. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 1/4 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 1/4 x 15 13/16 inches (311 x 402 mm); sheet size 17 1/8 x 20 7/8 inches (435 x 530 mm). ABOUT THIS WORK The nine-night ceremony known as the Night Chant or Nightway is believed to date from around 1000 B.C.E. when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, as it encompasses hundreds of songs, dozens of prayers, and several highly complex sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks. The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non-human relationships within the Navajo universe. Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness through techniques that shock or arouse. Once the disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony. The medicine men who supervise the Night Chant ensure that everything—each dot and line in every sand painting, each verse in every song, each feather on each mask is arranged precisely, or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of...

Paul Kelpe, Untitled (Abstract Composition), lithograph, 1937, edition unknown but small. Signed and dated in pencil. A fine, richly-inked impression, with all the nuanced texture an...

"""Sun & Moon"" Incredible color image of two king penguins standing face to face Stunning color photograph of two king penguins in the Falkland Islands facing one another in a per...

A striking credenza in high-gloss black lacquer with polished brass base and trim. Designed with clean minimalist lines and rounded corners, the piece reflects the bold elegance of l...

18th century Italian gilded fragment mounted on a golden, polished hematoid slab and adorned with tangerine quartz crystals. The piece is put together by Jean O'Reilly Barlow, the a...

Unidentified artist, 'Commedia dell’arte' – four character studies (Arlecchino, Pantalone, Pantalone giovane, Tartaglia), watercolor and pencil, c. 192...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 V. Inscribed 'J. F. note paper', in pencil, in the artist’s hand; with the Feininger estate stamp and catalog no. 'W 859' in pencil. Annotated 'W.290 V state 3609' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/4 inches; sheet size 10 x 7 5/16 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; NY, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Vintage French Aubusson Rug With A Gorgeous Floral Design. Measures 8' 11" x 11' 11" (close to 9'x12') There is one stained spot as shown in the last photo that may be able to come out.

"""Sea Sculpture"" An iceberg with organic, angular features in this surreal black and white photo Black and white photograph of an epic iceberg with arches and jagged faces featur...

"Pacific Glow" There are very few places on Earth where the light is as significant as it is in the morning along the coast of California. Join the photographic journey through th...

"Soul Mates" Running freely over the island's 13 square miles, the iconic wild horses of Sable Island are the perfect picture of freedom....

Richard Seewald, 'Der Hirte (The Shepherd)', woodcut with hand coloring, c. 1919. Unsigned as published in 'Genius', Vol 1, no. 1, 1919. A fine, richly...

American bronze oval elephant herd sculpture resting on a molded edge base, 20th Century.

Sculptural 18th century Italian hand-carved and gilded base with a Chesapecten fossil shell formation and natural-forming baroque pearls. The Chesapecten shell cluster was found fro...

"Portrait of a beautiful, elegant white horse in a fashion-inspired photograph There is something undeniably alluring about this speckled white horse, especially featured against a ...

Paul Maxwell (Frost Prairie, Arkansas,1925-2015) Limited Edition Pochoir Abstract, Pencil signed and numbered by the artist 73/100 and 74/100, each slightly different. Professionally...

A group of elephants of all sizes walks across a day lake bed in Amboseli with Mount Kilimanjaro as the backdrop Exceptional Creatures is a limited edition print series documenting ...

"""Nirvana"" In charcoal tones of black and white, this white horse swims with ease An underwater capture of a white horse swimming Created completely underwater, Equus: Underwate...

"""Noble Arch"" A speckled horse photographed in vivid detail against a black backdrop A speckled horse with a braided mane stands out against a black backdrop in this incredible d...

Wild Encounter Two wild horses playing in the rain on Sable Island A chance encounter with two wild horses in the rain, playing on the shores of Sable Island without a care in the ...

Beautiful brass flamingo polished to a mirror finish. This piece is in exceptional condition.

'Broken Carousel', color lithograph, 1950, edition 35, Fine and Looney 285. Signed, titled, and numbered '18/35' in pencil. Initialed in the stone, lower right. A fine, richly-inked ...

Edward Landon, 'Forms in White', color serigraph, 1950, edition 30, Ryan 85. Signed in pencil. Dated, titled, annotated 'ED. 30' and '5 COLORS' in the screen, bottom center sheet edg...

"Ice Fortress" Black and white image of a massive iceberg with arches and penguins at its edges A larger than life ice formation in Antarctica with a gathering of penguins congrega...

These exquisite George Washington andirons, dating back to the late 1800s or early 1900s, are a testament to American craftsmanship during a pivotal era. Cast in sand iron, they feat...

"In Step" Black and white photograph of three king penguins walking across pristine snow Three king penguins walk across a perfectly flat, serene plain of the beach in the Falkland...

Charles Elmer Harris (Beni E. Kosh), Untitled (Central Railroad), watercolor, c. 1945. Estate stamped verso, 'Beni E Kosh COLLECTION' and numbered '697' in ink. A fine, modernist re...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

Pair of English Regency serpentine splat back hand painted arm chairs with floral ribbon, swags, tassels, and medallion motif. Pair has scrolled ar...

Original miniature oil paintings on ivorine by esteemed miniaturist Beth de Loiselle (United States) of Fox Hunting themes featuring Ho...

Black Forest umbrella or stick stand in form of an alert bear

English wire and brass nursery fender 40 inches wide

"Wind Blown" Drawn to the timeless, ethereal beauty that unfolds moment to moment during visits to Sable Island and her horses, Drew's images feature the unforgettable nature of wil...

"A beautiful white horse underneath a stone arch in an ancient building A black and white image of a white horse underneath an ancient stone arch looking away from the camera This powerful global series explores horses in diverse settings and offers a nuanced and captivating look at their grace, strength and lasting cultural impact. Offered in a limited edition, these works are printed on Hahnemühle FineArt Baryta paper, which sets the standard for image definition and color depth. Each print includes an embossed certificate of authenticity and is signed and numbered. All images are printed in-house on Hahnemuhle Fine Art Baryta paper and come with a Certificate of Authenticity. For your convenience, all images are printed with a 3” paper border; this is not included in the listed sizes. ABOUT DREW: Photographer & filmmaker Drew Doggett creates print series featuring the extraordinary stories of diverse cultures and communities seen through a fashion-inspired lens. Through both intimate and expansive perspectives, he reveals his subjects in vivid detail. Drew's work is in public and private collections around the world, notably the Smithsonian Institute. He has received over 100 awards and honors for his photography and short films; in 2020, he was named number one in the US and fourth globally for black and white photography by One Eyeland. ""Related Tags: Horse Western Cappadocia Desert Church Black and White Cathedral Doors...