Marc Chagall (French, 1887-1985) - The Mimosas. A very fine and rare artist proof of a colored lithograph signed by the artist, Marc Chagall, in the margin, as well as being  More »

Marc Chagall (French, 1887-1985) - The Mimosas. A very fine and rare artist proof of a colored lithograph signed by the artist, Marc Chagall, in the margin, as well as being marked 'epreuve d'artiste' along with the proof number XXV in Roman numerals. This edition was limited to 75 copies, of which 25 were artist proofs, and was produced in Paris in 1968. Condition: There is some light toning of the paper. The original sales receipt for the purchase of this lithograph in Paris, France in 1968 will accompany the sale of this lithograph. Image size: 24 1/8" x 17". Offered framed.   « Less

Early Georgian shagreen covered slant front knife box with original brass hardware and working lock. English. Circa 1740-1760. Materials: Shagreen (shark skin) over wood  More »

Early Georgian shagreen covered slant front knife box with original brass hardware and working lock. English. Circa 1740-1760. Materials: Shagreen (shark skin) over wood with brass bail handle, hinges and lock escutcheon. Including key. The hinged cover reveals the original velvet fitted interior with divisions for 24 pieces of cutlery (slots to hold 12 knives and 12 forks). Condition: The shark skin covering has been restored in spots where it was torn; the wooden feet are later additions; and some of the interior's internal dividers (not visible) are misaligned. Also wear to the original velvet lining. Dimensions: 12.5" high x 8.25" wide x 5" deep.   « Less

English Tunbridgeware work/sewing/jewelry box in walnut veneer, decorated with two bands of chevron inlay of various exotic woods and with two hexagonal mother-of-pearl  More »

English Tunbridgeware work/sewing/jewelry box in walnut veneer, decorated with two bands of chevron inlay of various exotic woods and with two hexagonal mother-of-pearl escutcheons. Circa 1880-1900. The interior is lined with paper and fabric, and there is a fitted lift-out tray. Condition: age crack to rear top of lid, several older veneer patches at corners, replaced hinges, faint scratching of a name on cover. All decorative inlay is intact. Dimensions: 9.75" long x 6.75" deep x 5"high.   « Less

English George III snuff box fashioned from horn and with a tortoiseshell veneer on the cover. Circa 1790-1810. The cover is also inlaid with a floral design in silver and  More »

English George III snuff box fashioned from horn and with a tortoiseshell veneer on the cover. Circa 1790-1810. The cover is also inlaid with a floral design in silver and gold. Chip to one corner of cover (see photo detail); hinge is firm and carved from the horn, with a snug fit to the lid. Size: 3" long x 1.5" deep x .75" high.   « Less

Large English Victorian sarcophagus form tea caddy, fashioned of rosewood veneers with mother-of-pearl floral inlay to cover and front, resting on compressed ball feet. Two  More »

Large English Victorian sarcophagus form tea caddy, fashioned of rosewood veneers with mother-of-pearl floral inlay to cover and front, resting on compressed ball feet. Two lidded interior tea storage compartments with traces of original tinning, but missing the original glass mixing bowl. Mid 19th century. Very nice condition, with some minor chipping at corners, tight crack on back, and with some inlay missing on cover and escutcheon. Size: 12 3/8" long x 6 1/4" deep x 7 1/2" high.   « Less

Early American Pennsylvania Chippendale period tall clock, attributed to John Scott. Circa 1785. This clock has a fine mahogany case with double scroll cresting with floral  More »

Early American Pennsylvania Chippendale period tall clock, attributed to John Scott. Circa 1785. This clock has a fine mahogany case with double scroll cresting with floral rosettes, urn and flame finials, arched face door with slender columns, painted white enameled metal dial with flowers in the arch and fruit and flowers in the corner spandrels, molded waist door with serpentine carved top, flanked by fluted quarter columns on the waist and base; molded panel base on ogee bracket feet. Certain features on the case suggest a Chambersburg to Carlisle area origin, i.e. the bell horn (on top) and some of the moldings. The latched plates are very unusual features on American clocks but are similar to those on a clock made by Alexander Scott of a slightly later date. Chris Bailey believes that this clock was probably made by John Scott, c.1785, who was older. Excellent running condition with original 8-day brass movement with seconds dial and calendar display. Hour hand is a custom restoration and there has been some professional touch-up to the painted dial. Finials are original. With key and winding crank. Dimensions: 104.75 inches ht. x 21 inches wide x 12.75 inches deep. Provenance: Ex-collection of Chris H. Bailey, Curator of American Clock and Watch Museum, Bristol, CT and pictured in his book, "Two Hundred Years of American Clocks and Watches," 1975; then sold to Delaney Antique Clocks, who sold it to the present owner.   « Less

English novelty, figural horseshoe shaped inkstand by James Dixon and Son of Sheffield, fashioned in silverplate (EPNS) with a removable glass inkwell. 19th century. A  More »

English novelty, figural horseshoe shaped inkstand by James Dixon and Son of Sheffield, fashioned in silverplate (EPNS) with a removable glass inkwell. 19th century. A wonderful desk accessory for the equestrian collector. Excellent original condition, with no chips, dents, cracks or restoration. Size: 4 7/8" wide x 5" deep x 2" high.   « Less

A pottery bowl or olla by the matriarch of the Acoma Pueblo, New Mexico, Lucy Martin Lewis (c.1899-1992). Circa 1940. This wide mouth pottery bowl was hand decorated in red  More »

A pottery bowl or olla by the matriarch of the Acoma Pueblo, New Mexico, Lucy Martin Lewis (c.1899-1992). Circa 1940. This wide mouth pottery bowl was hand decorated in red and black colored slips with geometric designs inspired by the earlier Mimbres pottery. Though the vessel is unsigned, it is attributed by its decoration to Lucy Lewis, one of the most respected Acoma women potters. She began decorating pottery at the age of 7, and her daughters continue the potting tradition today, using traditional methods and designs. Excellent condition. Size: 9.5" diameter x 6.75" ht.   « Less

Edwin Burrage Child (American, 1868-1937) landscape painting of haystacks and chickens. Oil on canvas. Dated 1893. Size: 18" x 28". Excellent condition: fresh colors, four  More »

Edwin Burrage Child (American, 1868-1937) landscape painting of haystacks and chickens. Oil on canvas. Dated 1893. Size: 18" x 28". Excellent condition: fresh colors, four tiny, invisible old repairs to canvas. Offered in an antique gilt wood frame with leaf adorned corners. Signed and dated lower left. Though Edwin Child is best known as a portraitist, he also painted landscapes in and around his home in Dorset, VT. Edwin studied at the Art Students League in NY and became John LaFarge's assistant in the painting of murals.   « Less

Ceremonial ritual drum, pinge, Senufo people, African Ivory Coast (Cote d'Ivoire), Korhogo region. Circa 1890. Wood and hide, carved in the form of a bare breasted  More »

Ceremonial ritual drum, pinge, Senufo people, African Ivory Coast (Cote d'Ivoire), Korhogo region. Circa 1890. Wood and hide, carved in the form of a bare breasted tribal woman seated on a stool, supporting the drum with her arms. The drum is adorned with various symbols including an animal mask, lizards, stork, crocodile, axe, and biting beast. The female figure wears stylized amulets on her wrists and has scarified markings on her breasts and stomach. The drum head is fashioned from animal hide attached with rawhide, stretched over protruding pegs. Size: 33" high x 12" diameter. Condition: excellent, with some minor age cracks. There are three tiny holes in the hide drum head. The Senufo are known for their wood carving, a craft practiced by the males of the tribe. However, women are regarded as providing the strength and power of the tribe, thus the symbol of the woman supporting the drum, just as she supports the tribe. These ritual drums were used to summon spirits at special occasions, such as at funerals or at ceremonies initiating young men into adulthood. This is a rare and early example of the primitive carver's art. A very similar example is in the collection of the Art Institute of Chicago.   « Less