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

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

Brilliant glass petal flowers, golden gorgeous colors, amazing glow, beads, completes brass chain clasp. Exquisite 3" center, 24" long, excellent condition!

Brilliant glass petal flowers, golden gorgeous colors, amazing glow, beads, completes brass chain clasp. Exquisite 3" center, 24" long, excellent condition!   « Less

Amand-Durand (after Rembrandt) Femme nue les pieds dans l'eau Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate  More »

Amand-Durand (after Rembrandt) Femme nue les pieds dans l'eau Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 6.25" by 3". This is in mint condition. Rembrandt created his etchings in the 1600's, but by the 1800's the plates for the etchings were worn and in poor condition. Armand Durand, a well respected engraver, dedicated the major part of his life re-creating Rembrandt's 347 etchings in exacting detail. Armand-Durand used as his guide, not the worn and flat plates, but the first and second state etchings of the master's original works. Durand's original etchings were so well respected they were purchased by major collectors throughout Europe, and as well as the Louvre Museum in Paris and the French Biblioteque Nationale. Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."   « Less

Here is a regal “German Shepard Reclining” by the noted artist Theodore Karner, circa 1914. This creature measures 10 inches long and 5 inches tall. The work is  More »

Here is a regal “German Shepard Reclining” by the noted artist Theodore Karner, circa 1914. This creature measures 10 inches long and 5 inches tall. The work is signed in the base by the artist with the impressed crown of the Nymphenburg, dated 1914—1930. In very good condition with a very hard to photograph (no photo available) so well done I can photo the repired paw, closet to his tail. Otherwise in very good condition.   « Less

France, Christofle, made in Paris contemporary silver money clip, considers of Privileges Collection. 2" x 1", incised marks, symbols, 2.5" x 1" green emboss leather box,  More »

France, Christofle, made in Paris contemporary silver money clip, considers of Privileges Collection. 2" x 1", incised marks, symbols, 2.5" x 1" green emboss leather box, silk, velvet lining.   « Less