Wisconsin

Robert Bruce by Graff, Washbourne and Dunn (circa 1910) sterling silver flatware set of 196 pieces. This set includes: 48 dinner knives, 9 7/8", 48 dinner forks, 8 1/4", 48 salad ...

The sweetest flower, the Wild Rose, is captured beautifully in this lovely Victorian design. Precise hand-tooling creates nuances of light and reflection. Wild Rose brings the sereni...

COURREGES Hyperbole c.1970's Orange Hooded Belted Full-Length Coat Circa: 1970’s Label(s): Courreges Paris, Hyperbole Designer: Andre Courreges Style: Coat Color(s): Orange (exter...

Incredibly beautiful time capsule mid century lounge chair. Statement piece. In excellent vintage condition throughout. Extremely stylish.

Peter Hertz opened this workshop in 1834 and for a period of time had a location in Ostergrade but eventually settled on the corner of Kobmagergrade and Kronpirnsengrade in Copenhage...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

ALEXANDER McQUEEN A/W 2010 “Angels & Demons” “Hells Angels” Leggings RARE Brand / Manufacturer: Alexander McQueen Collection: Autumn/ Winter 2010 "Ange...

The Brno Chair, created by Mies van der Rohe in 1930 for the famous Tugendhat House in Brno, Czech Republic, captures the pioneering minimalism of its original setting. This chair, r...

Beautiful pointed antique engraved by Dominick & Haff huge dinner & luncheon sterling silver flatware set - 119 pieces. This set includes: 12 dinner s...

The academic nature in which designer Antione Heller looked to the past for inspiration also stems from the Beaux Arts movement. This multi-motif, figural pattern features French fig...

The Pyramid pattern was inspired by the styling of the Art Deco period with it's sleek and modern lines. The name Georg Jensen is synonymous with timeless style and dedication to the...

Beautiful Florentine Lace by Reed & Barton Sterling Silver Dinner and Luncheon Size flatware set, 152 pieces. This pattern features a stunning pieced h...

Dinner Size King Richard by Towle sterling silver flatware set of 60 pieces. This set includes: 12 dinner size knives, french blades, 9 7/8" 12 dinner size forks, 7 7/8" 12 salad fo...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Etruscan by Gorham sterling silver flatware set - 79 pieces. This set includes: Six knives, new French blade, 8 1/2" six knives, old French blade, 8 3/4" 12 forks, 7" 12 salad f...

"Low Tide" is an original oil painting on canvas by Raymond Suchomel. The artist signed the painting in the lower right. This painting depicts three boats washed up...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Framed 24 x 30 in

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

ALEXANDER McQUEEN S/S 2009 Iconic Blue Crystal Kaleidoscope Natural Dis-tinction Blazer Brand / Manufacturer: Alexander McQueen Collection: Spring / Summer 2009 Style: Blazer Co...

EMILIO PUCCI c.1960's Orange Geometric Op Art Signature Print Silk Empire Dress Circa: 1960’s Label(s): Emilio Pucci; Made of Lord & Taylor Designer: Emilio Pucci Style: Empire dre...

Allow this 9' x 12' abstract brown and cream wool Persian carpet to inspire you. Composed of all-natural, undyed shades of taupe, cream, and brown neutral wool, "Talons" by Orley Sha...

Rock star rocker to have if you need to get a rocker. If you have a baby to rock, this is the rocker to have. Currently upholstered in salmon colored velour textile, which is really...

Stunning DEBUSSY BY TOWLE sterling silver Flatware set - 75 Pieces. This set includes: 12 KNIVES, 9", 12 FORKS, 7 1/2", 12 SALAD FORKS, 6 1/2", 1...

Measuring 4’1” x 5’10,” this hand-knotted Persian Qashqai carpet belongs to Orley Shabahang’s World Market Collection. Created with a traditional Persian weave, the weave produces a ...

Through my large gestural paintings I aim to capture those overlooked modest moments of beauty, revealed unexpectedly perhaps in the imperfect and the fleeting, but that nevertheless...

ALEXANDER McQUEEN c.2010 “Angels & Demons” Grinling Gibbons Shift Knit Dress Brand / Manufacturer: Alexander McQueen Designer: Alexander McQueen...

DESCRIPTION: GIVENCHY c.1990's Haute Couture Fuchsia Pink Leopard Print Velvet Evening Dress Circa: c.1990’s Label(s): Givenchy; 72310 (Haute Couture numb...

An 18K yellow gold ring featuring an oval cut genuine earth mined amethyst gemstone. The ring is hand fabricated with gold tube wire and other elements. The amethyst has medium purpl...

PIERRE CARDIN c.1960’s Navy Cream Geometric Mod Color Block Mini Dress Circa: 1960’s Label(s): Les Jerseys de Pierre Cardin Designer: Pierre Cardin Style: Sleeveless a-line mini dr...

Rare handmade ornamental #19 by Georg Jensen sterling silver flatware set with superb pierced Art Nouveau grapes motif - 129 pieces. Early "GI" hallmark for 1910-1925. This set includes: 12 dinner size knives, 9 1/2", 12 dinner size forks, 8 1/4", 12 salad forks, 6 7/8", 12 place soup spoons, 7 1/4", 12 iced tea spoons, 7", 12 pastry forks, 3-tine, 6", 12 serving spoons, 8 3/8", eight luncheon knives, 7 5/8", eight teaspoons, 5 1/2", eight ice cream spoons, 6 1/2", ten luncheon forks, 7 1/8", ten hollow handle all-sterling butter...

Alexander McQueen S/S 2003 Silk Nude Eagle Tattoo Print Tank Top Brand / Manufacturer: Alexander McQueen Collection: S/S 2003 Style: Tank top Color(s): Shades of nude, red, pink, ...

Vintage Emilio Pucci c.1970's mint green & black color-block silk jersey dress. Large floral print in shades of blue, green, and white at center front and sleeves. Botanical boarder ...

Brand / Manufacturer: Alexander McQueen Collection: A/W 2012 Designer: Sarah Burton Style: Above-the-knee skirt Color(s): Shades of black Lined: Yes Marked Fabric Content: "100% wool...

"King with Two Tribesmen" is a bronze relief sculpture from the Nigeria-Benin area tribe. It depicts three figures: two tribesmen on the left a...

The "Cypress" or "Cypres" pattern #99 sterling silver flatware was designed by Tias Eckhoff in 1953 for Georg Jensen. Eckhoff’s sleek Cypress pattern was the winning design for the 5...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

ALEXANDER McQUEEN S/S 2000 Knit Black Cowl Neck Satin Suspender Strap Tank Top Brand / Manufacturer: Alexander McQueen Collection: S/S 2000 Style: Tank top...

Alik Singer c.1980's brown wool/silk blend over-sized collar jacket. Long sleeves. Five center front buttons with two concealed snap closures. Oversized collar with seven darts along...

Tom Ford Autumn/Winter 2015 brown silk georgette smocked corset peplum top. Sweetheart neckline with ruffled detail along front edge. 3/4 length semi-sheer sleeves with knife pleat d...

Lenox by Durgin Sterling Silver Flatware set - 48 pieces. This set includes: 12 Knives with blunt stainless blades, 8 1/2" 12 Forks, 7 1/4" 12 Salad Forks, 6 1/8" 12 Small Teaspoons...

"Boats in Berlin Harbor" is an original pastel painting on cheesecloth. Small tugboats push across the Berlin harbor as a gauzy cityscape watches from behind. Image: 25" x 33" Frame...

ALEXANDER McQUEEN F/W 2006 “Widows Of Culloden” Gray Bow Empire Sheath Dress Brand / Manufacturer: Alexander McQueen Collection: F/W 2006 “Widows Of Culloden” Designer: Alexander McQueen Style: Empire sheath dress Color(s): Gray Lined: Yes Marked Fabric Content: Shell: “94% Wool, 4% Polyamide, 2% Elastane”; Lining: “57% Viscose, 43% Polyester” Additional Details / Inclusions: Alexander McQueen Gray...

Superb dinner size Smithsonian by Stieff sterling silver flatware set, 50 pieces. This set includes: 12 dinner knives w/pistol grip handles, 9" 12 dinner size forks, 7 3/4" 12 salad...

Dinner size "Puritan" by Wallace sterling silver flatware set, 55 pieces. This set includes: 8 dinner knives, 9 5/8" 8 dinner forks, 7 5/8" 8 luncheon/dessert forks, 7" 8 salad fork...

Provence by Tiffany - Eighteenth century France was the inspiration for this pattern - rich, yet much less formal and ornate than most design patterns of the period. The name is most...

ENGLISH KING (c. 1885) Patterns similar to our English King were first used in France and England late in the eighteenth century and have remained among the most popular styles for>flatware today, in both Europe and America. Tiffany & Co. first made its own version of English King in 1885. It harmonizes with any eighteenth-century-inspired style neo-Georgian, Colonial, Louis XVI, Sheraton, Chippendale, Adam or Hepplewhite. The rich, intricate decoration of Tiffany's English King pattern reflects the luxurious entertainments given during the latter part of the eighteenth century and will enhance and give a sense of occasion to present-day settings. Designed by Charles Grosjean (1841-1888). Grosjean worked in his family's firm which produced high end silverware to prominent New York City retailers, including Tiffany. Upon his father's death, Grosjean left his family firm to become superintendent of Tiffany's silver factory in 1868. He had great background in silver and was an artist and was referred to as "one of the best living decorators of silver". He was a teacher in the Tiffany School and designed a few full lines of sterling patterns...

With soft shades of gray, orange, and cream wool, this geometric carpet, titled Ionic Gabbeh, measures 9’1” x 12’3”, and belongs to the Orley Shabahang Shag Collection. Composed of a...

Rare vintage Germaine Monteil c.1930's black silk velvet belted floral lace evening gown. Long dolman sleeves with six covered button detail and four ...

Royal Danish by International dinner size sterling silver flatware set, 62 pieces. This set includes: 12 dinner knives, 9 3/4", 12 dinner forks, 7 3/4", 12 salad forks, 6 3/8", ...

Vintage Courreges Couture Future c.1960's navy blue wool sleeveless tie waist shift dress. Designed by Andre Courreges. Slit neckline. Sleeveless. Center front 1/2 zip closure. Draw ...

ALAIA PARIS c. 2010 Monochrome Ombre Wool Silk Fit & Flare Mini Dress Brand / Manufacturer: Alaia Paris Circa: 2010 Designer: Azzedine Alaïa Style: Fit and Flare Mini Dress Color(s)...

George & Martha by Westmorland sterling silver flatware set of 62 pieces. This pattern has a Classic, timeless design! This set includes: 12 knives, 9 1/8". 12 forks, 7". 12 salad f...

This Orley Shabahang “Windows” contemporary Persian rug measures 5’ x 12’2” and features an allover geometric pattern hand-knotted in soft blue and rich brown wool. From the Orley Sh...

18K yellow gold vintage ring with the original large smoky/champagne quartz stone. The quartz is a large emerald cut measuring about 15.5mm x 12mm with light golden tan color. The mo...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Harold Altman was born in New York City in 1924. He attended the Art Students League, the Black Mountain College, the Academie de la Grande Chaumiere in Paris, and was a graduate of ...

"La Fleche de Zenon (Zeno's Arrow)" is a color lithograph after the original 1964 painting by Rene Magritte. A gigantic rock levitates over the sea. Waves crash bellow and a crescent moon hangs above. Art: 9.75 x 11.75 in Frame: 20.38 x 22.38 in René-François-Ghislain Magritte was born November 21, 1898, in Lessines, Belgium and died on August 15, 1967 in Brussels. He is one of the most important surrealist artists. Through his art, Magritte creates humor and mystery with juxtapositions and shocking irregularities. Some of his hallmark motifs include the bourgeois “little man,” bowler hats, apples, hidden faces, and contradictory texts. René Magritte’s father was a tailor and his mother was a miller. Tragedy struck Magritte’s life when his mother committed suicide when he was only fourteen. Magritte and his two brothers were thereafter raised by their grandmother. Magritte studied at the Brussels Academy of Fine Arts from 1916 to 1918. After graduating he worked as a wallpaper designer and in advertisement. It was during this period that he married Georgette Berger, whom he had known since they were teenagers. In 1926, René Magritte signed...

Etruscan by Gorham sterling silver flatware set, 65 pieces. This set includes: 12 knives, 8 1/2", 12 forks, 7", 12 salad forks, 6 1/4", 12 teaspoons, 5 3/4", 12 flat handle butter sp...

Brand / Manufacturer: Missoni Circa: 1970s Style: Short sleeve top Color(s): Shades of red, orange, yellow, green, blue, white Lined: No Marked Fabric Content: "75% wool, 25% rayon" ...