South Carolina

Pair of 17th century Italian wood angel heads and original textile foliage with sun-ray fragments mounted on antique mercury glass mirrors.   Orig...

A beautifully detailed early 20th-century silver-plated champagne or wine bucket featuring an ornate grape-and-leaf relief encircling the scalloped rim. The rim includes finely engra...

Edward Landon, 'Evening', color serigraph, 1958, edition 25, Ryan 71. Signed, titled, and annotated 'Ed. 25' in pencil. A fine impression, with fresh colors, on cream wove paper; the...

French hand painted and gilt flip top one drawer dressing table with decorative floral stenciling, lined interior with original mirror, terminating on bulbous legs with cross stretc...

Stanley William Hayter, 'Torero', engraving, 1932, edition 30, only 16 known impressions, trial proof, Black & Moorhead 71. Signed, titled, dated, and inscribed 'Essai' (test) in pencil. A superb impression with rich burr, on heavy BFK Rives cream, wove paper; full margins (2 1/4 to 6 1/4 inches). A short repaired tear (3/8 inch) in the left-center sheet edge, well away from the image; otherwise, in excellent condition. Scarce. Image size 10 9/16 x 7 5/8 inches; sheet size 15 1/2 x 11 1/2 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17...

Painted canvas with selenite sunrays and a chalcedony rosette center. The selenite sunray detail is created using selenite -- single, prismatic crystals from Morocco that were forme...

The iconic coat of the zebra is the focus of this unique, design-inspired image An array of zebras photographed in a unique pattern Exceptional Crea...

Max Weber, Untitled 'Feast of Passover', woodcut, 1920, edition proofs—this impression from the edition of 25 printed in 1956, Rubenstein 30. Signed in pencil...

Inspired by an antique Persian carpet, this dramatically scaled, graphic print features silhouettes of flowers and leaves. In collaboration with Mary McDonald, this decorative accent...

Black and white image of a bison crossing the river in Yellowstone in winter A lone bison walks across the Firehole River in Yellowstone National Park during Winter Exceptional Cre...

Sylvia Mayzer Rantz, 'Ninth Inning', lithograph, 1949, edition 24. Signed, dated, titled, and numbered '9/24' in pencil. A fine, richly-inked impression, on cream wove paper. The ful...

John DePol, 'Floating Crap Game, chiaroscuro wood engraving, 1958, edition 145. Signed, titled, numbered 'Ed. 145' and dated '3/1958'. Signed in the block, lower right. A fine, rich ...

Pair of American Campana form powered coated garden urns with flanking swans perched on egg & dart borders and resting on fluted splayed ringed squared bases, Mid 19th Century. Urns ...

English Regency papier mâché tilt top scalloped edge tea table with gilt stenciled foliage motif, mother of pearl inlays, turned bulbous r...

Chic mid-century French ice bucket crafted in hand-cut crystal with elegant vertical facets that catch and refract light beautifully. The piece is fitted with a striking gilt brass c...

A sculptural “leggy” black ceramic table lamp with a super fun shaped fiber glass shade. Measurements are of the lamp from base to socket.

Close up black and white photography of a silverback gorilla in the jungles of Rwanda making eye contact with camera Exceptional Creatures is a limited edition print series document...

Silverback gorilla with the beautiful backdrop of the dense foliage of the Virunga massif in Rwanda Exceptional Creatures is a limited edition print series documenting the most extr...

"Peak" A lone snowy peak rising above the clouds and mist with a flat white minimal natural backdrop. The limited edition print series Northern Dreams is a tribute to one of the m...

Ethereal portrait of a leopard sitting majestically atop a rock, looking at something to the right out of frame Exceptional Creatures is a limit...

18th century Italian, distressed, hand carved and painted figure of Christ on crystal with mica and tourmaline with natural forming baroque pearl. The figure of Christ came off of a ...

"Velsheda in Pursuit" As the J-Class racing yacht Velsheda chased Ranger across the sea, the billowing sails created a stark contrast with the water below. This image is in the p...

Beautiful, minimal, and serene image of trees against a snowscape The calm and composed feeling of this image, taken in Yellowstone, reveals the elegant beauty of mother nature Ex...

Joseph Hecht, 'Lion Défendant sa Proie (Lion Defending Its Prey)', engraving, 1931, edition 50, Tonneau-Ryckelynck & Plumart 215. Signed and numbered '18/50' in pencil. A fine impres...

"""Nature's Fabric"" Richly detailed black and white shot of ferns in Columbia River Gorge, Oregon The ferns grew in a perfect pattern proving that mother nature is the best design...

Italian tole red and black paint decorated six light chandelier with central urn foliage gilt fruit basket, acorn finial, and six scrolled arms with the original slot mounted shades....

"Chasing Light" In this award-winning image, these alluring, surreal white horses gracefully bound through the shallow water of their home in the South of...

American flame mahogany marble top pier table with gilt carved capitals , flanking cornucopias, original mirror, and terminating on gilt acanthus lions paw feet. All original. Early...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine impression with fresh, rich colors, on heavy off-white Japan paper; the full sheet with wide margins (1 3/4 to 3 1/4 inches), in good condition. Printed in black, dark gray, medium gray, yellow/orange, and lemon yellow. Matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Smithsonian American Art Museum. ABOUT THE ARTIST Painter, printmaker, and art teacher, Werner Drewes (1899–1985) was among the founding fathers of American abstraction. A student at the famed Bauhaus in the 1920s, he studied under Lyonel Feininger, Paul Klee, Laszlo Moholy-Nagy and Wassily Kandinsky. Following his emigration to the United States in 1930, he was instrumental in introducing modernist Bauhaus concepts and esthetics to America. Drewes’ boldly dynamic and emotionally expressive work, which encompassed both non-objective and figurative genres, brought him critical acclaim and numerous gallery and institutional exhibitions throughout his artistic career. Drewes' graphic work can be found in most major American art museums including, the Ackland Art Museum, The Art Institute of Chicago, Bauhaus Archive...

"Through the Falls" The famous horses of Iceland pay no attention to the extreme elements of their homeland most would find daunting - including some of the mightiest waterfalls on ...

Gordon Phillips, 'Takin' a Break', graphite, c. 1980. Signed and titled in pencil. A fine, spontaneous rendering, on white, wove bristol, the full shee...

Karl Eugene Fortess, 'Tanks & Trees', lithograph, c. 1940, edition 100. Signed, titled, and numbered '100/P' in pencil. Inscribed 'For Usui - K.' in the bottom left margin. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 1/2 inches); a slight crease across the top right sheet corner, well away from the image; otherwise in excellent condition. Image size 13 1/8 x 10 inches; sheet size 17 3/8 x 13 3/16 inches. Matted to museum standards, unframed. Provenance: Estate of Francis Pratt. Francis and her husband Bumpei Usui...

Herkimer diamonds in matrix mounted on an 18th century Italianhand-carved and gilded distressed molding and adorned with baroque pearls. "Herkimer diamonds" are unique and classic d...

"Almighty" An intimate portrait of Craig who is believed to be the largest living super tusk elephant on Earth. His tusks weigh a combined 200 pounds or more. Colossal Shadows: S...

Gentle moment of a white Camargue horse looking out of his white stable window A lone white ethereal horse peaks its head out of the stables in Camargu...

Extraordinary moment of two white horses rearing up in the South of France Two otherworldly white horses rear up in this exceptional moment captured in the South of France The awar...

'Rocamadour' (French Church Series # 10), etching, 1927, edition 50, Fletcher 186. Signed, dated, and annotated 'First State' in pencil. Titled and dated 'Rocamadour 1926' in the plate, bottom right. A superb, finely detailed impression, in dark brown ink, on buff laid Japan paper, with full margins (1 to 1 7/8 inches), in excellent condition. Image size 13 3/4 x 10 inches (349 x 254 mm); sheet size 15 3/4 x 13 5/8 inches (400 x 346 mm). Matted to museum standards, unframed. Literature: illustrated in Dorothy Noyes Arms, 'Churches of France', The Macmillan Company, 1929. Impressions of this work are in the permanent collections of the Blanton Museum of Art, Chrysler Museum of Art, Cleveland Museum of Art, Davis Museum (Wellesley), McNay Art Museum, Metropolitan Museum of Art, Rhode Island School of Design Museum, and the Whitney Museum of Art. ABOUT THE SUBJECT Rocamadour is a small clifftop village in south-central France. It is known for the Cité Réligieuse complex of religious buildings, accessed via the Grand Escalier staircase. It includes the Chapelle Notre-Dame, with its Black Madonna statue, and the Romanesque-Gothic Basilica of St-Sauveur. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

John DePol, 'North River Front', chiaroscuro wood engraving, 1953, edition not stated. Signed, dated, and titled in pencil. Signed in the block, lower left...

Bold and beautiful white Camargue horse rearing up in the South of France Surreal portrait of an all white Camargue horse rearing up against the background of the sea The award-win...

French Empire gilt bronze bouillotte lamp with three scrolled arms, interior griffon heads, telescopic tole shade with pineapple and feather finial, and resting on the original circu...

Robert Vale Faro, 'Easter Sunday', color lithograph, 1946, edition 31. Signed, dated, titled and numbered '116' and '17/31' in pen. A fine impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 inches), in excellent condition. Image size 21 x 13 1/2 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Théodore Géricault (after), 'Tigre dévorant un cheval' (Tiger Devouring a Horse), lithograph, 3rd state of 3, Clement 97, c. 1820. Lettered 'Volmar ...

American gilt carved wood and poly chromed nautical figurehead of Roman guard in military attire. Late 19th century.

Czechoslovakia Majolica vibrantly colored rooster umbrella / cane stand resting on circular foliage base, 19th Century. Czech. stamped / signed by maker underneath base.

Three white horses charging towards the camera in water against white backdrop Three white horses charge towards the camera with water spraying up around them against the opaque wh...

Black & white portrait of a brown bear in the creek against dense foliage A large brown bear in the Alaskan backcountry focuses on something out of sight Each year, brown bears des...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

'New Rochelle - Before the Wind', drypoint, 1931, edition 30 (only a few impressions printed), Rose l.163. Signed, dated '1932' and numbered '1 – XXX' in ...

Portrait of a dark horse with an Argentinian halter A portrait of a dark, velvet-coated horse looking over his shoulder The print series Equus: Light & Form focuses on the details ...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Benton Spruance, 'Slack Rope Artist', lithograph, 1930, edition 30, Fine and Looney 35. Signed and titled in pencil. Numbered '2' in the bottom right margin. A fine impression, with ...

Terry Haass, 'Quintet', etching and aquatint, edition 20, c. 1948. Signed, titled, and numbered '12/20' in pencil. A superb, richly-inked impression, on off-white wove paper, with fu...

The racing yachts Northern Light sailing across the Atlantic Ocean The billowy, light-filled sail gives way to the dark hull of the boat and waters below in this action-packed image The nautical print series Sail: Majesty at Sea is an intimate look at two revered racing boat classes and their incredible and enduring design as they navigate the open seas. Images from this series are in the permanent collection of the Mariners' Museum, Newport News...

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

Black and white portrait of the back of a young Rendille warrior wearing traditional adornments This warrior in a remote tribal community in Northern Kenya is the epitome of physica...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

Edward Landon, 'Dark Vessel', color serigraph, 1952, edition 50, Ryan 51. Signed, dated, and titled in pencil. A superb impression, with fresh colors, on c...

Albert Urban, Untitled Abstraction (Figures in Red), color serigraph, 1944. Signed and dated in blue ink. A fine, painterly impression, with fresh, rich colors, on cream wove paper;...

Set of sleek postmodern dining chairs featuring a tubular chrome frame paired with molded bentwood seats and backrests. Produced circa 1980s–1990s, these chairs embody the clean, fun...

Herschel Levit 'Duet', lithograph, c. 1937. Signed in pencil. A fine, richly inked impression, on cream wove paper, with full margins (1 1/2 x 2 inches)...