South Carolina

KYOTO STYLE NAGA HIBACHI (FIREBOX BRAZIER GRILL), Japanese, Meiji Period, The rectangular hibachi is of Keyaki (Zelkova) wood construction with the original copper liner, and a colum...

NARAZAKI EISHO (1864-1936), 'Asakusa Kannon-do no naido' (Interior of the Kannon Temple at Asakusa), color woodblock print, 1932. Signed Eisho lower right, with the artist’s red seal beneath. A fine impression with fresh colors; the full sheet with slight overall age toning, a drying tack...

American mahogany pillar and scroll mantel clock with carved scrolled pediment, brass finials, original works, reverse painted glass of Mt. Vernon, a...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

1970’s Italian Style bent Lucite Magazine Rack or zig zag magazine rack. Welcome to Solid Gold Velvet Interiors! We are so happy to have ...

Calman Shemi (Argentina/Israel, b. 1939), Musical Notes #9, Painted Steel Wall Piece, 1995, signed and numbered 9/9. Provenance: Purchased from Circle Gallery February 29, 1996. Thi...

"""Two of a Kind"" An elegant giraffe and her calf look out towards the open expanses of Kenya Giraffe and her young looking out on the open plains of Kenya Exceptional Creatures...

Intricately hand carved dog miniatures of Greyhound Heads (details in photos) on a sterling silver twisted bangle are made by England’s Paul Eaton who is...

Discover the refined elegance of the Cartier Platinum Diamond Engagement Ring. This exquisite piece embodies the artistry and luxury synonymous with Cartier, showcasing a harmonious ...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Rare, 19th century French Louis XVI style double oval back settee with richly carved motifs, scrolling arms and uphostered in linen.

Strikingly memorable Lane and Co. pink poodle ceramic TV lamp/ planter. Just one look at this posh canine duo and you will certainly have follow up que...

Based on an archival 1947 Josef Frank print, this hand-drawn pattern bears the designer’s signature modernity, whimsy, and warmth. Panel Width: 27...

American rococo rosewood turtle top center table with carved floral skirt, original marble top, floral carved stretchers and terminating on acanthus carved ...

An early 20th-century Hayley Lever watercolor depicting fishing boats docked at the St. Ives Harbor, Cornwall, England. A fine, spontaneous rendering on watercolor paper, with fresh ...

Sculptural 18th century Italian fragment with elestial quartz and mounted on an agate slice. The fragment was originally from a historical Italian church. It is mounted with the ele...

French Baccarat gilt bronze and crystal twelve-arm chandelier with a gilt floral canopy, cascading crystal prisms flanking a centered spiral crystal column , twelve gilt floral scrol...

A complete set of horse / equestrian fireplace tools and stand made of solid brass in the style of Maison Jansen. Set includes stand with re...

For your growing collection of vinyl albums, we offer this ingenious space-saving cabinet. Store your vinyl in the compartments below and feature your stereo set up on top. The piece...

Add a touch of classic Tiffany elegance to your collection with this vintage sterling silver egg-shaped pill box. Beautifully crafted with the quality and refinement expected from Ti...

Set of 7 "selenite logs" or ruler selenite. Selenite logs are single, prismatic selenite crystals from Morocco that were formed in extensive beds by the evaporation of ocean brine. T...

A set of four dining chairs Designed by Paul McCobb's iconic for Winchendon Furniture Planner Group series, manufactured from 1950-1964. These chairs have been professionally resto...

From Niagara Furniture a Vintage Drexel Sideboard in excellent condition Simple yet sophisticated this beautiful Vintage Drexel Sideboard has...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

This pillow features Annika Floral Tapestry with a knife edge finish. Based on original artwork that was hand-drawn in our studio, Annika Floral Tapestry in multi-on-navy derives its...

Chinese Coromandel figural red lacquer 12-panel screen depicting pagoda and landscape scenes, decorative gilt floral border panels, gilt carved lower panels, and reverse side depicti...

A timeless emblem of the Hermès aesthetic, the H Heure watch transforms a single letter into an icon of elegance. Crafted in 18K white gold, this refined timepiece embodies the maiso...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

American mahogany pillar and scroll mantel clock with carved scrolled pediment, brass finials, original works, signed reverse painted glass, and term...

19th century Swedish trestle table in style in “Allmogestil," country folk customs and traditions cherished of the native traditions and folk culture. A rustic family table in gray/b...

Pair of Monumental English Chippendale brass bell shaped form doorstops with central bulbous banded columns, oval handles, and resting on the original lead lined interior bases, Late...

"Unspoken" Striking black and white photo of a lion looking at the viewer Black and white portrait of a large male lion looking at the viewer, with his face half in the frame Exce...

Georg Gelbke, Untitled (Women Bathing), etching, 1920. Signed and dated in pencil. Initialed and dated in the plate, lower right. A fine, richly-inked im...

Pair of Leon Rosen for Pace Brass Mounted Cube Side/Drinks Tables USA, circa 1970s A rare find is a pair of Leon Rosen Pace Brass Mounted Cube Side/Drinks Tables, with the brass mou...

English Mahogany leather tufted and brass tacked arched high chair with upper removable tray, lower adjustable and removable leg rest, and resting on the original flanking four splay...

English Chestnut and Mahogany tall case clock with broken arch pediment, floral rosettes, original brass urn finials, dolphin and figural ormolu face, original arched hood with glass door, cross banded...

Robert Vale Faro, 'Sylvan Maze', color lithograph, 1946, edition 20. Signed, dated, titled and numbered '112' and '11/20' in pencil. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1 to 1 1/2 inch), in excellent condition. Image size 13 11/16 x 9 11/16 inches; sheet size 16 1/8 x 12 5/16 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a 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...

The Tiffany & Co. Jazz Diamond Platinum PT950 Drop Earrings are a breathtaking embodiment of elegance and timeless glamour. Crafted from platinum PT950, these earrings are meticulous...

Celebrate refined elegance and rhythmic beauty with the Tiffany & Co. Jazz Diamond and Sapphire Eternity Band, a dazzling piece that captures the harmony of color and brilliance in a...

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

Italian 19th century pair console tables with Demi-lune tops on a pair of carved and canted lyre legs and sculpted wooden stretchers in dark gray/blackish finish. Toscana, Italy Refi...

"""Quest"" Two horses swimming in a row taken underwater Two horses swimming in a line underwater in this unique black and white photograph Two horses swimming in a line underwate...

Mid-Century Modern atomic planter that sits on ball feet. actual planter part is a cone shape.

Indulge in the epitome of sophistication and refinement with the Tiffany & Co. 14K Yellow Gold Knot Cufflinks and 4 Studs Set. Crafted with the utmost precision and elegance, this ex...

The Grateful Dead on the corner of Haight and Ashbury St, San Francisco, CA. 1967. Signed and numbered by photographer Herb Greene

Amalia Polleri, 'Untitled (Sleeping Children)', Conté crayon on cream wove drawing paper, signed and dated '43 in ink beneath the image, lower right; with 1/4 margins all around. Arc...

English brass and polished steel telescope with spotting scope, adjustable stabilizer bar, and mounted on folding tripod stand, 19th Century. Manufacturer T. Cooke & Sons, York. Tel...

Vintage 32nd Degree Scottish Rite ring by Herff Jones, created in 10k solid yellow gold and features beautiful enamel. Best measures for a size 11 finger, measures .45 inch at its ta...

Pair of Igorot tribesmen figural wood carvings depicting hunter and huntress with companion canines, weaponry, and standing on two circular fluted pli...

The Cartier Trinity Pink Sapphire Ruby Diamond 18K Rose Gold Band is an exquisite piece of jewelry that seamlessly blends elegance with v...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

American shaped front mahogany sideboard with inlay

The Van Cleef & Arpels Cufflinks are a testament to exquisite craftsmanship and luxury. Fashioned from 18k yellow gold, these cufflinks exude sophistication and elegance. The design...

18th century Italian silver and gold leaf crucifix adorned with baroque pearls and mounted on a mica cluster and a calcite crystal. The mica specimen is from the Great Smoky Mountain...

The cast body of cylindrical form rising to a flaring rim, engraved with incised ring turned detail to the exterior, interior and underside, sided by twin open handles together with ...

The Platinum Sapphire Cufflinks are a striking display of luxury and precision. Crafted in lustrous platinum, these cufflinks feature a captivating arrangement of blue sapphires, eac...

Introducing the Tiffany & Co. Sterling Silver Vintage Rectangular Pill Box with Striped Design – a timeless and exquisite accessory that embodies the heritage of Tiffany & Co.'s reno...

Elegant Mid-Century Modern chrome and maple console table, circa 1970s. The sleek rectangular form features a polished chrome frame that encases a warm maple wood top and side insets...

Freddie Mercury on stage during the Magic tour. Wembley Stadium, UK. 1986. Signed on bottom right by photographer.

The Hermès Chaine d'Ancre Enchaînée Toggle Bracelet is a stunning piece that exemplifies the brand’s unparalleled craftsmanship and timeless elegance. Inspired by the iconic chain li...