charming white porcelain pit bull,beautiful glaze, wearing painted dark collar. excellent condition. 4.25" h., 3.5" w.

charming white porcelain pit bull,beautiful glaze, wearing painted dark collar. excellent condition. 4.25" h., 3.5" w.   « Less

French Circa 1700 Cast Iron fire place cover, fire back, etched, engraving maker's mark, date, on very low end. fabulous aged, incredible patina. Coat of Arm, dramatic  More »

French Circa 1700 Cast Iron fire place cover, fire back, etched, engraving maker's mark, date, on very low end. fabulous aged, incredible patina. Coat of Arm, dramatic roosters, crown, 20 inch h. x 21 inch w. , about 1.5 inch thick. Fire back formed for fire place, to enhance the warmth in the room. currently fire backs enhancing decor, on the stand or wall. extremely heavy! Private Collection.   « Less

A wonderful antique five-light Spanish Revival iron and brass chandelier with its original two-tone finish, dating from the 1920’s. The chandelier begins with a  More »

A wonderful antique five-light Spanish Revival iron and brass chandelier with its original two-tone finish, dating from the 1920’s. The chandelier begins with a teardrop-shaped loop finial, with a body formed by textured iron bands in their original silver-tone finish with black accents. The chandelier is ornamented with brass acanthus and volute details throughout. The undersides of the chandelier arms are ornamented with vines, and the chandelier finishes in a dangling shield-shaped finial with leaves. This light fixture is in excellent condition; it has been professionally rewired and comes with all the necessary attachments for modern installation. The chandelier body measures 21 ½” wide and approx. 19” tall, and the fixture is approx. 34” long overall. NC970-RW   « Less

A fabulous antique five-light Colonial Revival chandelier in brass, dating from the 1930’s. The chandelier features a loop finial atop a brass baluster-shaped body,  More »

A fabulous antique five-light Colonial Revival chandelier in brass, dating from the 1930’s. The chandelier features a loop finial atop a brass baluster-shaped body, with five smooth chandelier arms supporting understated bobeches. This light fixture is in good antique condition with some scuffs on a few of the arms and a crack below the finial (pictured). The chandelier has been professionally rewired and comes with all the necessary attachments for modern installation. The chandelier body measures 17 ¼” wide and 14” tall, and the fixture is 32” long overall. NC971-RW   « Less

This is an intact Victorian Tile Fireplace surround. They are very hard to find . This one is 42 1/2 x 42 and the opening is 30 x 30. thetile is still attached to a motar  More »

This is an intact Victorian Tile Fireplace surround. They are very hard to find . This one is 42 1/2 x 42 and the opening is 30 x 30. thetile is still attached to a motar base and is is io 3 pieces. The large top section and two side sections. This can be motared in directly on your brick facing of your fireplace or mounted to driwall if you are creating a decorative fireplace. We are not offering shipping on this but are happy to work with your shipper.   « Less

Atherton, 19,5 x 30 According to Sullivan Goss, John AthertonÕs commercial and illustrative work was characterized by strong draftsmanship and precise composition.  More »

Atherton, 19,5 x 30 According to Sullivan Goss, John AthertonÕs commercial and illustrative work was characterized by strong draftsmanship and precise composition. ÊAtherton had no shame in blurring the line between commercial and fine art, though illustrators were (and still are) often considered lesser artists. He said in his statement for the seminal 1943 Museum of Modern Art exhibition, American Realists and Magic Realists, Ã’Any painting lives or will last because it is well painted, regardless of whether it is a potato or a human body. By this I do not mean mere technical dexterity but painting which builds the spirit of the forms.Ó For his fine art gallery pieces, Atherton retained the defined forms from his technical commercial experience but instead placed his subjects in surrealist situations. Atherton was highly influenced by the magic realist movement that had roots in European surrealism but carried distinctly American undertones. While other magic realists, such as John Wilde, focused on themes of agriculture and fertility, Atherton often opted for more industrial landscapes. His practiced exactitude aided him in this effort ... But, while we may not comprehend the precise meaning behind the Ã’spirit of the formsÓ in AthertonÕs surrealist works, there is still a palpable energy and gravitas within the compositions. Indeed, from advertisements and posters with clear messages to obscure surrealist landscapes, AthertonÕs range of communication is evident and consistently powerful.' This poster has been hailed as one of Atherton's most impressive works: It is clean, it is precise, and it uses the most recognizable landmarks with the most impact. It is, in short, quite perfect. item# 1003   « Less

Villemot Bernard Bernard Villemot (1911-1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally shoes, Perrier, and Air  More »

Villemot Bernard Bernard Villemot (1911-1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally shoes, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932-1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945-1946, Villemot prepared posters for the Red Cross. In the late 1940's, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least two books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985), and "Villemot: lÕaffiche de A ˆ Z," by Guillaume Villemot (2005).(wikipedia) This poster measures 25 x 40 inches, is linen backed, and in very good condition.Ê #1004   « Less

Adupuich, 9,75 x 14 There is something innocent and spectacular about advertising from the Art Deco period - it gets the message across so gently but yet so forcefully at  More »

Adupuich, 9,75 x 14 There is something innocent and spectacular about advertising from the Art Deco period - it gets the message across so gently but yet so forcefully at the same time. What could be more significant than a couple tanning at the beach while a trio of children play ball in the background... (this before the days of damaging UV rays of course!) Produced by Adupuich in 1934 this piece was a point of purchase display piece which still has its original string at the top. #1008   « Less

Mauzan Studio, 6,5 x 9,25 This maquette measures roughly 6.5 x 9.25 inches - it seems to have been executed in watercolor on arches paper. It has been archived since it  More »

Mauzan Studio, 6,5 x 9,25 This maquette measures roughly 6.5 x 9.25 inches - it seems to have been executed in watercolor on arches paper. It has been archived since it was produced and show no aging, no foxing, no tearing and no wear. It is perfect! The history of Campari began in 1860 with its invention by Gaspare Campari in Novara, Italy. The original recipe still in use today is kept confidential. According to Gruppo Campari, only one person in the world knows the entire formula.It was originally colored withcarmine dye, derived from crushed cochineal insects, which gave the drink its distinctive red color.In 1904, Campari's first production plant was opened in Sesto San Giovanni, near Milan, Italy. The company required bars that bought Campari to display the Campari Bitters sign. Under the direction of Davide Campari, Gaspare's son, the company began to export the beverage, first to Nice in the heart of the French Riviera, then overseas. The Campari brand is now distributed in over 190 countries. #1009   « Less

14 x 36 Roger Willoughby is a well-known fishing expert who works for Abercrombie & Fitch Co. Abigail Page is a brash and flighty public relations woman. Page is determined  More »

14 x 36 Roger Willoughby is a well-known fishing expert who works for Abercrombie & Fitch Co. Abigail Page is a brash and flighty public relations woman. Page is determined to secure Willoughby's participation in a prestigious fishing tournament, only to discover that Willoughby is a phonyÑhe's never fished in his life. In the vein of the screwball genre, the dialog is fast and overlapping, the humor broad and slapstick, multiple levels of deceptionabound, and a decidedly adversarial relationship constantly teeters on the edge of romance. Although vintage movie posters are not usually my thing, this one was just so over the top that I couldn't resist... #1011   « Less