Here we are honored to offer Vintage Waterford “Champagne Saucer” Closed Edition, made in IRELAND of a closed and retired edition in the 1980. This is one  More »

Here we are honored to offer Vintage Waterford “Champagne Saucer” Closed Edition, made in IRELAND of a closed and retired edition in the 1980. This is one of two available. Each measuring 4.25 inches tall and 4 inches diameter at the top. There are NO visible damage or repairs, without the original box. This is no longer produced in Ireland with the older Waterford White Stamp.   « Less

Originally introduced in 1920. The Island Vase shape was originally developed with blank panels that could be hand decorated, often with flowers and other animal motifs.  More »

Originally introduced in 1920. The Island Vase shape was originally developed with blank panels that could be hand decorated, often with flowers and other animal motifs. First starting in the 1920's, its middle panels were decorated with bunches of Shamrocks. This form of decoration became best love and used and in production until the mid 1990’s. The Shamrock Island Vase measures 8" tall, one of two to be offered. Each in good condition free of any visible damage or repair.   « Less

Great Donegal-Belleek “Ireland” with the Green Stamp of Donegal-Belleek stamp of recent manufacture, measuring 4.5 by 2 inches and .25 inches thick and in  More »

Great Donegal-Belleek “Ireland” with the Green Stamp of Donegal-Belleek stamp of recent manufacture, measuring 4.5 by 2 inches and .25 inches thick and in good condition.   « Less

Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early  More »

Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the “exuberance” of his compositions. According to A. Hyatt Mayor, Goltzius “was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy”. In middle age he also began to produce paintings. Hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Dürer’s. He made engravings ofBartholomeus Spranger’s paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham. H. Goltzius “Schmerzensmann; Christ on the Cross” Engraving recorded in both catalogue resumes Ref; Barsch 48 and Hollstein . 48 . this work measures 7.25 in x 5 in on antique laid paper with TWO 18th century collectors marks on the verso and re margined in otherwise good condition .   « Less

Pablo Picasso “The Lovers” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher,  More »

Pablo Picasso “The Lovers” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher, lithographer and sculptor.

As one of the most recognized figures in twentieth-century art, he is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907) and his depiction of the German bombing of Guernica during the Spanish Civil War, Guernica (1937). The work measures 12 by 9.75 inches approximate (image in the mat open). Framed in a lovely brown carved frame. Single matted with plexiglass. Frames size is 26 by 22 inches. This is published during the artist’s lifetime with his supervision and in good condition. This and the other four are recorded works, in the Cramer catalogue Resume, Goeppert/Cramer, edition of 666. Printed-published by Cercle d’Art, Paris. Publication issued in 1970. There is no CoA. Numbered 506 / 666 in pencil. Sold as is.   « Less

Winslow Homer “A VOICE FROM THE CLIFFS” Etching A VOICE FROM THE CLIFFS. Etched by James David Smillie and plate signed by both Homer and Smillie on laid  More »

Winslow Homer “A VOICE FROM THE CLIFFS” Etching A VOICE FROM THE CLIFFS. Etched by James David Smillie and plate signed by both Homer and Smillie on laid paper, in mint condition. Smillie made this etching directly from the original watercolor, and Homer signed about ten proofs as indication of his approval of the etching. Homer later made his own etching of this subject. “In 1886, with Homer’s blessing, James D. Smillie made a skillful reproductive etching of the watercolor for use as a plate in S.R. Koehler’s American Art.” Recorded in the Witthoft’s Catalogue Raisonné, #42. Etching measure 6 3/4” x 9 7/8 on laid paper and in great condition.   « Less

James Whistler “Venice” Limited Edition Lithograph James McNeill Whistler “Venice” Limited Edition Lithograph. This is a rare example of his  More »

James Whistler “Venice” Limited Edition Lithograph James McNeill Whistler “Venice” Limited Edition Lithograph. This is a rare example of his Lithographed works after his Pastel. The Sheet measures 3.25 by 8.50 inches. This is in good Condition and tipped onto a support sheet as published. This and others are outstanding Original Lithographs conceived by James Whistler, the American painter, lithographer and etcher. These Impressive Lithographs works transferred onto the stone and printed by Thomas Way, London 1905. Each image is on Lithographer’s woven paper of the Stamp of the STUDIO (Publisher) — on wove paper and attached to a support sheet as published. Thomas way was responsible for printing many of Whistler Lithographs. Many of Whistlers works were transferred onto stone by the master printer Thomas R. Way. James Abbott McNeill Whistler (July 14, 1834 — July 17, 1903) was an American-born, British-based painter, lithographer and etcher. Averse to sentimentality in painting, he was a leading proponent of the credo “art for art’s sake”. He took to signing his paintings with a stylized butterfly, possessing a long stinger for a tail. The symbol was apt, for Whistler’s art was characterized by a subtle delicacy, in contrast to his combative public persona. Finding a parallel between painting and music, Whistler titled many of his works ‘harmonies’ and ‘arrangements’.   « Less

Tiffany & Co. Swiss made white metal, authenticated vintage square desk clock! accompanies with blue pouch & bag! 4" h. & w., 1" d., excellent working, aged patina top  More »

Tiffany & Co. Swiss made white metal, authenticated vintage square desk clock! accompanies with blue pouch & bag! 4" h. & w., 1" d., excellent working, aged patina top exterior. evaluated, serviced by Tiffany & Co. in Southern California. battery operated.   « Less

This is a fabulous pair of antique single-arm cast iron sconces, dating from the 1920’s and retaining their original polychrome finish. Each sconce features pink and  More »

This is a fabulous pair of antique single-arm cast iron sconces, dating from the 1920’s and retaining their original polychrome finish. Each sconce features pink and green foliate and floral detail at the top of the sconce, with volutes framing the circular center section. Below, leaves and volutes surround the base of the sconce arm and the switch. The sconce arm extends from the lower part of the sconce, ending in a blue patera and supporting a bobeche with cutout volute detail. These wall lamps are in excellent condition; they have been professionally rewired and come with all the necessary attachments for modern installation. We kept the original nonfunctioning turn switches for nostalgia’s sake; however, we will gladly replace them with new ones if desired. The sconces are 10 ½” tall, 4 1/8” wide, and project 4” from the wall. NSP498-RW   « Less

Original watercolor applied to the Lithograph AFTER the original work executed in oil. This was executed by the Artist and approved by the artist's Estate and with the Braun  More »

Original watercolor applied to the Lithograph AFTER the original work executed in oil. This was executed by the Artist and approved by the artist's Estate and with the Braun & Cie of Paris, of a limited edition, 1948. Work measures 4.50 by 6.25 inches, on wove watercolor paper and in good condition. This is one of four from the same collection. Prov: Helen Hayes Degas was born in Paris, France, the eldest of five children of Célestine Musson De Gas and Augustin De Gas, a banker. The family was moderately wealthy. At age eleven, Degas (as a young man he abandoned the more pretentious spelling of the family name) began his schooling with enrollment in the Lycée Louis-le-Grand, graduating in 1853 with a baccalauréat in literature. Degas began to paint seriously early in his life. By eighteen he had turned a room in his home into an artist's studio, and had begun making copies in the Louvre, but his father expected him to go to law school. Degas duly registered at the Faculty of Law of the University of Paris in November 1853, but made little effort at his studies there. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and was advised by him to "draw lines, young man, many lines." In April of that same year, Degas received admission to the Ecole des Beaux-Arts, where he studied drawing with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the next three years. There he drew and painted copies after Michelangelo, Raphael, Titian, and other artists of the Renaissance, often selecting from an altarpiece an individual head which he treated as a portrait. It was during this period that Degas studied and became accomplished in the techniques of high, academic, and classical art. After returning from Italy in 1859, Degas continued his education by copying paintings at the Louvre; he was to remain an enthusiastic copyist well into middle age. In the early 1860s, while visiting his childhood friend Paul Valpinçon in Normandy, he made his first studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 while copying in the Louvre. Degas returned to Paris in 1873. The following year his father died, and in the subsequent settling of the estate it was discovered that Degas' brother René had amassed enormous business debts. To preserve the family name, Degas was forced to sell his house and a collection of art he had inherited. He now found himself suddenly dependent on sales of his artwork for income. By now thoroughly disenchanted with the Salon, Degas joined forces with a group of young artists who were intent upon organizing an independent exhibiting society. The first of their exhibitions, which were quickly dubbed Impressionist Exhibitions, was in 1874. The Impressionists subsequently held seven additional shows, the last in 1886. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought. He bitterly rejected the label Impressionist that the press had created and popularized, and his insistence on including such comparatively traditional artists as Jean-Louis Forain and Jean-François Raffaëlli in their exhibitions created rancor within the group, contributing to their eventual disbanding in 1886.   « Less