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Medium - Sculptures
Fan Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Fan Dancer. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 21"x19.5"x4.5".
Medium - Sculptures
The Aristocrats - Bronze and Ivory Sculpture by Poertzel
Poertzel bronze and ivory sculpture, The Aristocrats. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:24"x24"x5".
Medium - Sculptures
Original Limited Edition 24K Gold Layered Bronze Bronze Sculpture - Surist Angel
Archipenko original limited edition 24K gold layered bronze sculpture, "Surrealist Angel".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Other World", comes with certificate of authenticity, framing available at an additional cost.
Art
"Dance At Bougival" - Chagall- Inspired
Inspired by Chagall, this is handpainted and signed by an in-house authorized artist. Beautifully framed . Approx. size:29X25.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION. EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
Original Hand Signed Lithograph by R.C. Gorman titled "Chili Picker"
"Chili Picker" is an original lithograph hand signed by R.C Gorman. Measurements are approximately 12x15. Comes with certificate of authencity, mint condition, not framed. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CASAMENTI SU MOLO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Blue Diamond Earrings in 14K Yellow Gold
1.5 ctw. Blue Diamond Earrings in 14K Yellow Gold
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX DIAMOND RING, DIAMOND IS APPROXIMATELY 2CT, CLARITY: VS2 COLOR: G.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Mans 14k Yellow Gold Topaz Diamond
Mans 14k Yellow Gold Topaz Diamond Topaz Royal Blue Diamond VSI COLOR G
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "La Passante" circa 1894, this painting of a stroller on a Paris boulevard was same year Bonnard produced a series of colour lithograph illustrating scenes of Paris street life. This shows the enormous influence of Japanese design on Bonnard's representation of figures and architectural forms. The style is one of suggestion rather than complete statement. Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Damascene - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Damascene. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "PAYSAGE". CIRCA 1906. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Christ in Limbo". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Lady On The Steps - Bronze and Ivory Sculpture by Andre Bouraine
Andre Bouraine bronze and ivory sculpture, Lady On The Steps. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22.5"x17"x5".
General - Prints/Reproductions
Limited Edition Picasso - Man with Guitar - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Man with Guitar". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Waterfall of the Phlegethon". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Fine Jewelry
LADY'S 10K YELLOW GOLD GARNET/DIAMOND RING
This lady's 10K yellow gold garnet/Diamond Ring is comprise of 4 prongs set oval shape garnet surrounded by 2 prongs set 10 round diamonds.total estimated diamond's weights are. 1.00cts. The total weight of the ring is 3.40grams. Clarity SI1 SI2 I1 color KL Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE PINTAIL DUCK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Alexander Archipenko Original Limited Edition 24K Gold Layered Bronze limited Edition Sculpture
Alexander Archipenko , limited edition 24K gold layered bronze sculpture, "Flat Torso".
Art
Plate Signed Norman Rockwell Lithogrqaph
Plate signed Norman Rockwell lithograph. Approx. size: 21X21.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "SUITORS IN PURSUIT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Kiss- Klimt - Limited Edition on Canvas
Gustav Klimt Limited Edition on canvas, "The Kiss".Comes with COA. Approx. size: 20"x24". HC-0046
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE TITLED "TETE RENVERSEE", CIRCA 1906 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Beautiful 14kt White Gold Black Diamond Ring
Lady's Beautiful 14kt White Gold Black Diamond Ring, Diamond Approx 3 ct. (4KK)
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Smaller and Smaller", comes with certificate of authenticity, framing available at an additional cost.
Art
Schofield - "Changing Seasons" - Serigraph
Schofield handsigned and numbered limited edition serigraph, "Changing Seasons". Beautifully framed . Approx. size: 21X25.
General - Original Works
Original Hand Signed Lithograph by R.C. Gorman titled "Untitled"
"Untitled" is an original hand signed lithograph by R.C. Gorman. Measurements are approximately 10.5x14.5. Comes with certificate of authencity, mint condition, not framed. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
Original Hand Signed Peter Max Mixed Media Over paint Mint "Beauty"
Original Hand Signed Peter Max Over Paint "Beauty". Stunning Peter Max is in mint condition and unframed. Complete with Certificate of Authencity. The approximate measurement is 10x7. Peter Max was born in Berlin in 1937 but his family moved to China when he was still very young. In fact the young Max would move frequently with his family, learning about a variety of cultures throughout the world while traveling from Tibet to Africa to Israel to Europe until his family moved to the U.S. In American Max was trained at the Art Students League, Pratt Institute, and the School of Visual Arts, all in New York. After closing his design studio in 1964, Peter began creating his characteristic paintings and graphic prints. From visionary pop artist of the 1960's, to master of dynamic neo Expressionism, Peter Max and his vibrant colors have become part of the fabric of contemporary American culture. In the 1960's Max rose to youthful prominence with his now-famous "Cosmic '60s" style, a bold linear type of painting which employed Fauvist use of color and depicted transcendental themes. Peter Max revolutionized art of the 60’s just as the Beatles transformed the music of the decade. As his expressionistic style evolved, becoming more sensuous and painterly, Max’s unique symbolism and vibrant color palette have continued to inspire new generations of Americans throughout the decades. Peter Max is a passionate environmentalist and defender of human and animal rights, often dedicating paintings and posters for these noteworthy causes. He has celebrated our nation's principles of freedom and democracy with his famous paintings of American icons of freedom including Lady Liberty and the American Flag.Peter Max has received many important commissions including the creation of the first "Preserve the Environment" Postage Stamp commemorating the World's Fair in Spokane, Washington; 235 Border Murals at entry points to Canada and Mexico commissioned by the U.S. General Services; and a painting of each of the 50 states, resulting in a book, "Peter Max Paints America" in celebration of the Bicentennial. In 1981 he was invited by President and Mrs. Reagan to paint six Liberty portraits at the White House. Max has painted for five U.S. Presidents - Ford, Carter, Reagan, Bush and Clinton. Max has exhibited in over 40 international museums and over 50 galleries, worldwide. His work can be found in many prominent museum and private collections around the world. In 1981 he painted six liberty portraits for the America President and Mrs. Reagan, and in 1993, his famous ‘100 Clintons’ installation. Max has painted for five American presidents; Ford, Carter, Reagan, Bush, and Clinton.Max has had approximately forty museum shows internationally, and more than fifty gallery shows worldwide. His works appear in the prominent collections of many museums, including the Museum of Modern Art in New York.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Blue & White Diamond Ring in 10K White Gold
1.10 ctw Blue & White Diamond Ring in 10K White Gold. Comes with GLA Est. Retail Replacement Value Appraisal
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX DIAMOND RING, DIAMOND IS APPROXIMATELY 2CT, CLARITY: VS1 I1 COLOR: SILVER CAPE.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice, titled "Maternal Figure" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Ladies Royal Blue 14 k Gold
Ladies Royal Blue Topaz White Diamonds 14K Yellow Gold Mount Blue Topaz 6K Sapphire Aprox. 6k
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
Medium - Sculptures
Signed A.R. Dergado Bronze and Ivory - Feuervogel
Signed bronze and ivory art deco sculpture "Feuervogel" by artist A.R. Dergado, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 12.2".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Top Hat - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Top Hat". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:21.5"x11"
General - Prints/Reproductions
Limited Edition Picasso - Claude and Paloma at Play - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Claude and Paloma at Play". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Manto". Comes with COA and beautifully framed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE ALASKA BROWN BEAR" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
"The Young Philadelphians" Movie Still
Paul Newman movie still from "The Young Philadelphians". Beautifully framed and comes with COA. Approx. size: 20X22.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "ON HOME WATER" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Jazz - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "Jazz". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU ASSIS DANS", CIRCA 1906 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Fancy Style 14kt Yellow Gold Amethyst & Diamond Earrings
Fancy Style 14kt Yellow Gold Amethyst & Diamond Earrings, Amethyst approx 14ct, Diamonds approx .50ct VS1, Color G. (112LK)
Fine Jewelry
Fancy Lady's 14kt White Gold Sapphire & Diamond Ring
Fancy Lady's 14kt White Gold Sapphire & Diamond Ring, Sapphire approx 2ct, Diamonds approx 1.25 ct VS11, Color G.
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Circle Limit III", comes with certificate of authenticity, framing available at an additional cost.
Art
Schofield - "Changing Seasons" - Serigraph
Schofield handsigned and numbered limited edition serigraph, "Changing Seasons". Beautifully framed . Approx. size: 21X25.
Art
BEAUTIFUL SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "HE LOVES ME, HE LOVES ME NOT". EDITION IS 23 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
Beautiful Original Hand Signed Lithograph by R.C. Gorman
An original hand signed lithograph by R.C Gorman. Measurements are approximately 8x10. Comes with certificate of authencity, mint condition, not framed. Gorman is considered by many to be the premiere Indian artists. The New York Times quoted him as being the Picasso of American Indian Art. A man of today in every sense, his art reflects the racial memory and experience of an ancient people that remains timeless and universal. The deceptively simple, lyrical lines of his drawings provoked the New York Times to title R. C. Gorman's as "The Picasso of American Indian Art." R. C. Gorman's' work, especially the lithographs, drawings and bronzes, is collected as often by lovers of contemporary art as by those specializing in Indian Art. Sadly R.C. Gorman passed away on November 5th, 2005, he will be missed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Stunning Original Hand Signed Pastel by R.C. Gorman "Seated Woman" Mint
Absolutely stunning original hand signed pastel by artist R.C. Gorman titled "Seated Woman" measurements are approximately 13x20, unframed, in mint condition! Complete with certificate of authenticity. Gorman is considered by many to be the premiere Indian artists. The New York Times quoted him as being the Picasso of American Indian Art. A man of today in every sense, his art reflects the racial memory and experience of an ancient people that remains timeless and universal. The deceptively simple, lyrical lines of his drawings provoked the New York Times to title R. C. Gorman's as "The Picasso of American Indian Art." R. C. Gorman's' work, especially the lithographs, drawings and bronzes, is collected as often by lovers of contemporary art as by those specializing in Indian Art. Sadly R.C. Gorman passed away on November 5th, 2005, he will be missed.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PORTO ERCOLE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Red & White Diamond Heart Pendant Necklace in 10K Gold
1.5 ctw. Red & White Diamond Heart Pendant Necklace in 10K Gold
Fashion Jewelry
STUNNING UNISEX DIAMOND RING
STUNNING UNISEX DIAMOND RING SET IN FINE STERLING SILVER, DIAMONDS ARE APPROXIMATELY 1.50CT CLARITY IS VS2 COLOR IS I
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice, titled "Nocturnal Fragments" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#45 Fancy Diamond Ring
Fancy Diamond Ring. Approx .25ct Red Diamond
Fine Jewelry
Unisex Lapis 18 K Yellow Gold
Unisex Lapis 18 K Yellow Gold lapis purple Aprox. 10K Yellow Gold Mount.
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "The Street" circa 1900, Bonnard's admiration for Oriental composition is shown here in his affirmative use of space and the abrupt placement of the principle figure, the woman at the lower right. Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
The Creed - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, The Creed . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE", CIRCA 1912 GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne bearing the signature, titled "Stove in the Studio". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Illuminated Temple Goddess - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Temple Goddess. Lights up . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 27"x18". CC111500
General - Prints/Reproductions
Limited Edition Picasso - Still life with Skull, Leek and Pottery - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Still life with Skull, Leek and Pottery". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Fine Jewelry
Lady's Fancy 14 Kt White Gold Amethyst & Diamond Ring
Amethyst approx 6 ct, Diamonds approx .50 ct VS1, G in color. (106DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 14K WHITE GOLD LAB ORANGE SAPPHIRE/DIAMOND RING
This lady's 14K white gold blue lab orange sapphire/Diamond Ring is comprise of 5 prongs set round shape lab orange sapphire surrounded by 2 prongs set 9 round diamonds.total estimated diamond's weights are.90cts. The total weight of the ring is 2.90grams.clarity SI1 SI2 I1 color HI Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE WILD TURKEY" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Rare Pablo Picasso Original Limited Edition 24K Gold Layered Bronze Sculpture - Female Torso
Pablo Picasso Signed and Numbered 24K gold layered bronze sculpture, "Female Torso". Comes with foundry assay. Some variations in marble might occur. Approx. size: 15"x8"x4".
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "TWLIGHT DEPARTURE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Interior with A Violin Case - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "Interior With A Violin Case". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "PORTRAIT DE BOURGEAT", CIRCA 1914 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
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Fine Jewelry
Lady's Fancy Diamond & Golden Sapphire Ring
Sapphire approx 4 ct, Diamonds approx .75 ct VS1, G in color. (59DD)
Fine Jewelry
Beautiful 14kt Yellow Gold Amethyst Earrings
Beautiful 14kt Yellow Gold Amethyst Earrings, Amethyst approx 12 ct.(122LK)
Jewelry & Watches
Lady's Antique Style 14 kt White Gold Diamond Ring
Lady's Antique Style 14 kt White Gold Diamond Ring, Diamonds approx 1.25 ct VS2, Color G.(1KK)
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Knots", comes with certificate of authenticity, framing available at an additional cost.
Art
"Last Meeting" - Julio - Canvas Print
Julio plate signed canvas print, "Last Meeting". Beautifully framed . Approx. size: 24X20.
Art
FINE LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
FINE LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY IN A LIMITED EDITION TITLED "LADY IN MOSCOW", LIMITED EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
Original Hand Signed Lithograph by R.C. Gorman titled "Desert Madonna"
"Desert Madonna" is an original hand signed lithograph by R.C. Gorman. Measurements are approximately 10x8, mint condition, unframed. Completes with certificate of authenticity. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
Original Hand Signed Peter Max Mixed Media Over paint Mint "American Flag"
Original Hand Signed Peter Max Over Paint "American Flag". Stunning Peter Max is in mint condition and unframed. Complete with Certificate of Authenticity. The approximate measurement is 10x7. Peter Max was born in Berlin in 1937 but his family moved to China when he was still very young. In fact the young Max would move frequently with his family, learning about a variety of cultures throughout the world while traveling from Tibet to Africa to Israel to Europe until his family moved to the U.S. In American Max was trained at the Art Students League, Pratt Institute, and the School of Visual Arts, all in New York. After closing his design studio in 1964, Peter began creating his characteristic paintings and graphic prints. From visionary pop artist of the 1960's, to master of dynamic neo Expressionism, Peter Max and his vibrant colors have become part of the fabric of contemporary American culture. In the 1960's Max rose to youthful prominence with his now-famous "Cosmic '60s" style, a bold linear type of painting which employed Fauvist use of color and depicted transcendental themes. Peter Max revolutionized art of the 60’s just as the Beatles transformed the music of the decade. As his expressionistic style evolved, becoming more sensuous and painterly, Max’s unique symbolism and vibrant color palette have continued to inspire new generations of Americans throughout the decades. Peter Max is a passionate environmentalist and defender of human and animal rights, often dedicating paintings and posters for these noteworthy causes. He has celebrated our nation's principles of freedom and democracy with his famous paintings of American icons of freedom including Lady Liberty and the American Flag.Peter Max has received many important commissions including the creation of the first "Preserve the Environment" Postage Stamp commemorating the World's Fair in Spokane, Washington; 235 Border Murals at entry points to Canada and Mexico commissioned by the U.S. General Services; and a painting of each of the 50 states, resulting in a book, "Peter Max Paints America" in celebration of the Bicentennial. In 1981 he was invited by President and Mrs. Reagan to paint six Liberty portraits at the White House. Max has painted for five U.S. Presidents - Ford, Carter, Reagan, Bush and Clinton. Max has exhibited in over 40 international museums and over 50 galleries, worldwide. His work can be found in many prominent museum and private collections around the world. In 1981 he painted six liberty portraits for the America President and Mrs. Reagan, and in 1993, his famous ‘100 Clintons’ installation. Max has painted for five American presidents; Ford, Carter, Reagan, Bush, and Clinton.Max has had approximately forty museum shows internationally, and more than fifty gallery shows worldwide. His works appear in the prominent collections of many museums, including the Museum of Modern Art in New York.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW FROM CLIFF DRIVE" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Blue Diamond Ring in 10K White Gold
1.40 ctw Blue Diamond Ring in 10K White Gold. Comes with GLA Est. Retail Replacement Value Appraisal Card Pictured Below
Fine Jewelry
Diamond Heart Pendant & Chain Necklace in 10K Gold
1 ctw. Diamond Heart Pendant & Chain Necklace in 10K Gold
Fine Jewelry
Women's Fancy Pink Sapphire and White Topaz Ring
Women's fancy pink sapphire and white topaz ring set in fine sterling silver. Pink sapphire is approximately 6 CT and white topaz is approximately 4 ct.
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Fashion Jewelry
LADIES FANCY BRIDAL SET RINGS
LADIES FANCY BRIDAL SEX RING SET IN FINE STERLING SILVER, DIAMONDS ARE APPROXIMATELY 1CT CLARTY IS VS2 COLOR IS G
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice, titled "Figure" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
ladies 14K Gold Ring
Ladies 14K Gold Water Fall Diamond Cluster 2K Diamonds VS2 Silver Cape Heavy Ladies Mount
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "La Loge" circa 1908, Gaston and Josse Bernheim were owners of mone of the most prestigious art galleries in Paris, a gallery in which Bonnard's works were exhibited many times throughout his career. The Bernheims commissioned the artist to portray them, with their wives, in their boc at the Paris Opera. The resulting painting shows Bonnard's mischievous, somewhat ironic sense of humour, for he has relegated two of the gigures to the background and cut off half of one face. This arbitrary compositonal device concentrates attention on the other figures, and especially on the elegant gowns of the women. Unlike Bonnard's gayer cafe concert and circus paintings, this portrait group is a study in cool detachment and ennui, accenuated by contrast with the warm, lush tones of the upholstery and hangings of the elegant theatre box. Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Footsteps
Signed bronze and ivory art deco sculpture "Footsteps" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "PAPIER COLLE" CIRCA 1914. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of Achille Emperaire". Comes with ceritificate of authenticity, framing available at an additonal cost.
Medium - Sculptures
Bal Costume - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Bal Costume. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Prints/Reproductions
Limited Edition Picasso - Bather with a Sand Shovel - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Bather with a Sand Shovel". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MOOSE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture -Giraffe Woman With Drawers
This is a limited edition, signed bronze sculpture that is layered with 24K gold entitled "Giraffe Woman With Drawers". Sculpture measures approx. 19"x 8.5" x 4".
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "THREE-BIRD CHASE, MALLARD" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Dream - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "The Dream". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "FRUITS ET FEUILLAGES", CIRCA 1914 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#64 - Fancy Ladys 14K Yellow Gold Promise Ring
Fancy Ladys 14K Yellow Gold Promise Ring. Diamond is approx .25 ct. Heavy
Fashion Jewelry
Lady's Unique Design 14 kt White Gold Pink Sapphire & Diamond Ring
Lady's Unique 14 kt White Gold Pink Sapphire & Diamond Ring, Pink Sapphire approx 2cts, Diamonds approx 1.50 cts VS1, Color G.
Fine Jewelry
Fancy Style 14kt White Gold Topaz & Diamond Earrings
Fancy Style 14kt White Gold Topaz & Diamond Earrings, Topaz approx 1.25 ct, Diamonds approx .25 ct VS1, Color G.(138LK)
Fine Jewelry
Lady's Fancy 14kt White Gold White Sapphire Ring
Lady's Fancy 14kt White Gold White Sapphire Ring, White Sapphire approx 3ct.(32LK)
Fine Jewelry
Lady's Fancy 14kt White Gold White Sapphire Ring
Lady's Fancy 14kt White Gold White Sapphire Ring, White Sapphire approx 6ct.
General - Prints/Reproductions
Fransisco Goya Limited Edition - "NUDE MAYA"
Fransisco Goya limited edition, "NUDE MAYA". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 16"x20".
General - Prints/Reproductions
Robert Lyn Nelson Mix Media Litho/Serigraph
Over the World by Artist Robert Lyn Nelson Mix Media Litho/Serigraph , hand signed, approx dimension 21X39 in.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Hand with Reflecting Sphere", comes with certificate of authenticity, framing available at an additional cost.
Art
"Florals I" by Schofield
Embellished Limited Edition Giclee on canvas. Approx. size: 26X31.
Art
EXQUISITE LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
EXQUISITE LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY IN A LIMITED EDITION TITLED "BLUE CIRCLE" EDITION IS 22 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
Original Hand Signed Lithograph by R.C. Gorman titled "Catalina De Mora"
"Catalina De Mora" is an original lithograph hand signed hand printed by R.C Gorman, "Catalina De Mora" R.C. Gorman's most recent lithograph, shows a young Navajo woman seated in a desert landscape in late evening. Golden light rakes across the foreground, illuminating the young woman clothed in a fringed shawl of earth red and purple over a tan and lavender skirt and dark blouse. The deep rich colors of the figure contrast with the intense blue and mauve-pink if the evening sky and earthly purple of the distant hills. The moment is one of serene beauty, found at that time of day in the desert when the light fades and the stillness in the air signals the return of the desert night. Mint condition, unframed, approximate measurements are 8x10, completes with certificate of authenticity.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW OF AVALON" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond Star Pendant & Chain Necklace in 10K Gold
1ctw Diamond Star Pendant & Chain Necklace in 10K Gold
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX BLACK AND WHITE DIAMOND BAGQUETTE RING, DIAMONDS APPROXIMATE IS 2.05CT CLARITY IS VS1 AND COLOR IS G
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Nude with a Lamp" circa 1912, This painting can be considered the very essence of Bonnard's intimist style and subject matter. A moment of complete privacy of relaxed self-absorption, has been caught forever, with loving delicacy that privacy seems not to be invaded. Comes with certificate of authenticity, framing available at an additional cost.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
RARE ORIGINAL LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUES, , MINT CONDITION, VERY RARE PIECE TITLED "VERRE ET PIPE" CIRCA 1917. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
Art
Silvia A.- IN THE COUNTRY -Hand Signed Limited Ed. Lithograph on Canvas
This is a limited edition hand signed Lithograph by Silvia A. titled "IN THE COUNTRY". Medium: Lithograph on Canvas [Signed and Numbered by the artist]. This piece is numbered from an edition size of 95. Image size: 20" x 24". Comes with a certificate of authenticity. Comes unframed. In mint condition!
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Washing of a Corpse". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Odalisque
Signed bronze and ivory art deco sculpture "Odalisque" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 30"x10"x4"
General - Prints/Reproductions
Limited Edition Picasso - Seated Woman - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Seated Woman". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Hell) , "Cerebrus". Comes with COA and beautifully framed.
Fine Jewelry
Unisex Beautiful Antique Amethyst & Malacai Black Lapist Ring
Unisex Beautiful Antique Amethyst & Malacai Black Lapist Ring, Amethyst approx 6 ct, Malacai approx 2 ct, Black Lapist approx .50 ct. (149DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 10K WHITE GOLD TANZANITE/DIAMOND PENDANTZ
This lady's 10K white gold tanzanite/Diamond pendant is comprise of 2 prongs set round shape tanzanite surrounded by 2 prongs set 6 baguette cut diamonds.total estimated diamond's weights are.30cts. The total weight of the pendant is 1.60grams.clarity SI1 SI2 color IJ Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE PRONGHORN ANTELOPE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture - Portrait Of Picasso
This is a limited edition, signed bronze sculpture that is layered with 24K gold entitled "PORTRAIT OF PICASSO" (1947) by Salvador Dali. Comes with the foundry assay. Some variations in marble might occur. Approx. Dimensions: 7in. x2 in. x 2in.
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General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "THIRTEEN TO ONE - SHOVELERS, EARLY JUNE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Egyptian Curtain - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "The Egyptian Curtain". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE TITLED "ODALISQUE A LA JUPE DE TULLE", CIRCA 1923 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Beautiful Plt Diamond & Lemon Sapphire Ring
Sapphire approx 2.5 ct, Diamonds approx 33 points VS1, G in color. (67DD)
Fine Jewelry
Fancy Style 14kt White Gold Pigeon Blood Ruby & Diamond Earrings
Fancy Style 14kt White Gold Pigeon Blood Ruby & Diamond Earrings, Pigeon Blood Ruby approx 3ct, Diamonds approx 1 ct VS1, Color G.(140LK)
Fashion Jewelry
Lady's Beautiful 2 Tone HEARTS Tiffany Bracelet
Lady's Beautiful 2 Tone HEARTS Tiffany Bracelet. (5KK)
Fashion Jewelry
Unisex Fancy 14kt White Gold 2 Color Changing Alexandrite Ring
Unisex Fancy 14kt White Gold 2 Color Changing Alexandrite Ring, Alexandrite approx 2.5 ct.(33LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Blue Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Blue Sapphire & Diamond Ring, Blue Sapphire approx 1.5ct, Diamond 1 ct VS1, Color G.
General - Prints/Reproductions
Rembrandt Limited Edition - Masters of the Cloth Guild
Rembrandt Limited Edition, "Masters of the Cloth Guild". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Robert Lyn Nelson "Under the World" Mix Media Litho/Serigraph
"Under the World" by Famed Artist Robert Lyn Nelson Mix Media Litho/Serigraph , hand signed, approx dimension 21X39 in.
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Circle Limit IV", comes with certificate of authenticity, framing available at an additional cost.
Art
"Place De La Concorde" inspired by Degas
Edgar Degas (19 July 1834 – 27 September 1917), born Hilaire-Germain-Edgar De Gas was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. A superb draughtsman, he is especially identified with the subject of the dance, and over half his works depict dancers. These display his mastery in the depiction of movement, as do his racecourse subjects and female nudes. His portraits are notable for their psychological complexity and depiction of human isolation. Early in his career, his ambition was to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Hand painted and signed by in house authorized artist in a limited edition series. Beautifully framed oil on canvas. Approx. size: 24X28.
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General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Set Of The Ballet (Tristan)
Salvador Dali signed limited edition, "Set Of The Ballet (Tristan)". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "GEORGE WASHINGTON" EDITION IS 24 OF 95 COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
Original Hand Signed Lithograph by R.C. Gorman Mint
An original lithograph hand signed by R.C. Gorman. Measurements are approximately 8x10. Comes with certificate of authencity, mint condition, not framed. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
Original Hand Signed Peter Max Mixed Media Over paint Mint "Angel with Sun Version III"
Original Hand Signed Peter Max Over Paint "Angel with Sun Version III". Stunning Peter Max is in mint condition and unframed. Complete with Certificate of Authenticity. The approximate measurement is 10x7. Peter Max was born in Berlin in 1937 but his family moved to China when he was still very young. In fact the young Max would move frequently with his family, learning about a variety of cultures throughout the world while traveling from Tibet to Africa to Israel to Europe until his family moved to the U.S. In American Max was trained at the Art Students League, Pratt Institute, and the School of Visual Arts, all in New York. After closing his design studio in 1964, Peter began creating his characteristic paintings and graphic prints. From visionary pop artist of the 1960's, to master of dynamic neo Expressionism, Peter Max and his vibrant colors have become part of the fabric of contemporary American culture. In the 1960's Max rose to youthful prominence with his now-famous "Cosmic '60s" style, a bold linear type of painting which employed Fauvist use of color and depicted transcendental themes. Peter Max revolutionized art of the 60’s just as the Beatles transformed the music of the decade. As his expressionistic style evolved, becoming more sensuous and painterly, Max’s unique symbolism and vibrant color palette have continued to inspire new generations of Americans throughout the decades. Peter Max is a passionate environmentalist and defender of human and animal rights, often dedicating paintings and posters for these noteworthy causes. He has celebrated our nation's principles of freedom and democracy with his famous paintings of American icons of freedom including Lady Liberty and the American Flag.Peter Max has received many important commissions including the creation of the first "Preserve the Environment" Postage Stamp commemorating the World's Fair in Spokane, Washington; 235 Border Murals at entry points to Canada and Mexico commissioned by the U.S. General Services; and a painting of each of the 50 states, resulting in a book, "Peter Max Paints America" in celebration of the Bicentennial. In 1981 he was invited by President and Mrs. Reagan to paint six Liberty portraits at the White House. Max has painted for five U.S. Presidents - Ford, Carter, Reagan, Bush and Clinton. Max has exhibited in over 40 international museums and over 50 galleries, worldwide. His work can be found in many prominent museum and private collections around the world. In 1981 he painted six liberty portraits for the America President and Mrs. Reagan, and in 1993, his famous ‘100 Clintons’ installation. Max has painted for five American presidents; Ford, Carter, Reagan, Bush, and Clinton.Max has had approximately forty museum shows internationally, and more than fifty gallery shows worldwide. His works appear in the prominent collections of many museums, including the Museum of Modern Art in New York.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAN FRANCISCO WHARF" CIRCA 1973. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fashion Jewelry
FANCY 14K GOLD WHITE SAPPHIRE DROP PENDANT
FANCY 14K GOLD WHITE SAPPHIRE DROP PENDANT, DO NOT INCLUDE CHAIN, WHITE SAPPHIRE IS APPROXIMATELY 3CT
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Rock Composition I" comes with certificate of authenticity, framing available at an additional charge.
Jewelry & Watches
Lady's Antique Style 14 kt White Gold Diamond Ring
Lady's Antique Style 14 kt White Gold Diamond Ring, Diamonds approx 1.25 ct VS2, Color G.(4KJ)
General - Old Masters
Henri Matisse- Limited edition - Vereve IV
Henri Matisse-Limited Edition On Paper. Title: "Verve IV" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Unisex Very Fancy Diamond Cluster 14K
Unisex Very Fancy Diamond Cluster VSI Color G 14K Yellow Gold Mount
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "After the Flood" circa 1909-10, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Exotic Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Exotic Dancer". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 21"x27"x9".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE, , MINT CONDITION, VERY RARE PIECE TITLED "AS DE TREFLE" CIRCA 1918. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
Art
Silvia A.- RED ABSTRACT- Hand Signed Limited Ed. Lithograph on Canvas
This is a limited edition hand signed Lithograph by Silvia A. titled "RED ABSTRACT". Medium: Lithograph on Canvas [Signed and Numbered by the artist]. This piece is numbered from an edition size of 95. Image size: 20" x 24". Comes with a certificate of authenticity. Comes unframed. In mint condition!
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Reading Aloud (Zola & Alexis)". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - A Slight Accident
Signed bronze and ivory art deco sculpture "A Slight Accident" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 20"x6"x8"
General - Prints/Reproductions
Limited Edition Picasso - The Bird Cage - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Bird Cage". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Fine Jewelry
Lady's Fancy 14 kt White Gold Sapphire Ring
Lady's Fancy 14 kt White Gold Sapphire Ring, Sapphire approx 5 ct.(150DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 10K YELLOW GOLD LAB RUBY/DIAMOND RING
This lady's 10K white gold lab ruby/Diamond pendant is comprise of 4 prongs set oval round shape lab ruby surrounded by 4 prongs set 8 round diamonds.total estimated diamond's weights are.50cts. The total weight of the pendant is 4.20grams.clarity SI1 SI2 I1 HI Comes with certified gemologists lab report/appraisal.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE RUFFED GROUSE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "PINTAIL RAPE FLIGHT, DELTA DECOY" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Goldfish - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "The Goldfish". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TETE DE FACE", CIRCA 1948 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Beautiful 14kt Yellow Gold Amethyst Earrings
Beautiful 14kt Yellow Gold Amethyst Earrings, Amethyst approx 12 ct.(142LK)
Fine Jewelry
Lady's Beautiful 14kt White Gold Alexandrite 3 Color Change Ring
Lady's Beautiful 14kt White Gold Alexandrite 3 Color Change Ring, Alexadrite approx 1ct. (27LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Ruby & Diamond Ring
Lady's Fancy 14kt White Gold Ruby & Diamond Ring, Ruby approx 1ct, Diamond approx 1ct VS1, Color G.(34LK)
Fine Jewelry
Lady's Beautiful One of a kind design, 14kt White Gold White Sapphire Ring
Lady's Beautiful One of a kind design, 14kt White Gold White Sapphire Ring, White Sapphire approx 5ct.
General - Prints/Reproductions
Maurice Utrillo Signed Limited Edition - WINDMILLS
Maurice Utrillo signed limited edition, "WINDMILLS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x20".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Balcony", comes with certificate of authenticity, framing available at an additional cost.
Art
"Artists Father Reading" -Cezanne- Limited Edition
Limited edition, signed and hand-embellished Chagall chromograph Limited Edition, "Artist's Father Readinf". Beautifully framed . Approx. size: 30X27.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Portrait Of Madame Isabel
Salvador Dali signed limited edition, "Portrait Of Madame Isabel". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION, EDITION IS 25 OF 95 COMES WITH CERTIFICATE OF AUTHENTICITY, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "DARSENA" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond Ring in 10K White Gold
1.5 ctw. Diamond Ring in 10K White Gold
Fine Jewelry
Red & White Diamond 10K Rose Gold Necklace
1ctw. Red & White Diamond 10K Rose Gold Necklace
Fine Jewelry
Women's Elegant Sapphire and White Topaz Ring
women's elegant sapphire and white topaz ring set in fine sterling silver. Sapphire is approximately 3 CT and white topaz is approximately 2 CT
Fashion Jewelry
FANCY 14K GOLD WHITE SAPPHIRE DROP PENDANT
FANCY 14K GOLD WHITE SAPPHIRE DROP PENDANT, DO NOT INCLUDE CHAIN, WHITE SAPPHIRE IS APPROXIMATELY 3.02CT
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Rock Composition III" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#53 Fancy Ladys 14K Gold Boroka Pearl Ring
Fancy Ladys 14K Gold Boroka Pearl Ring.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "The Natanson Girls" circa 1910, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Simplicity
Signed bronze and ivory art deco sculpture "Simplicity" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 20"x6"x8"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE" CIRCA 1926. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
Art
Silvia A. - COUNTRY VINEYARD- Hand Signed Limited Ed. Lithograph on Canvas
This is a limited edition hand signed Lithograph by Silvia A. titled "COUNTRY VINEYARD". Medium: Lithograph on Canvas [Signed and Numbered by the artist]. This piece is numbered from an edition size of 95. Image size: 20" x 24". Comes with a certificate of authenticity. Comes unframed. In mint condition!
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Still Life with Seashells and Black Clock". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Anestesia
Signed bronze and ivory art deco sculpture "Anestesia" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 30"x10"x4"
General - Prints/Reproductions
Limited Edition Picasso - Bather - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Bather". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 14K WHITE GOLD DIAMOND RING
This lady's 14K white gold Diamond ring is comprise of 6 prongs set round brilliant cut diamond surrounded by 4 prongs set 22 round diamonds.total estimated center diamond's weights is .1.05cts. The total weight of the ring is 4.30grams.clarity I1 JH Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE AMERICAN ELK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Rearl Origanal limited edition 24k gold Art Deco Chiparus Sculpture -Lady Dancer
This Chiparus sculpture, , Origanal limited edition 24k gold layered comes with COA exstreamly Rare "Lady Dancer".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "SPRING MIGRATION OF PINTAIL" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Red Room - Matisse - Limited Edition on Canvas
Matisse Limited Edition on canvas, "The Red Room". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU", CIRCA 1906 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#95 - Fancy Ladys 14K Yellow Gold Columbian Emerald and Diamond Ring
Fancy Ladys 14K Yellow Gold Columbian Emerald and Diamond Ring. Approx 1ct Columbian Emerald, Diamonds approx .25 ct VS1 Color G. Heavy
Fashion Jewelry
Lady's Unique Style 14 kt White Gold Royal Blue Topaz & Diamond Ring
Lady's Unique Style 14 kt White Gold Royal Blue Topaz & Diamond Ring, Royal Blue Topaz approx 3 cts, Diamonds approx .50 cts, VS1 color G.
Fine Jewelry
Fancy Style 14kt White Gold Amethyst & Diamond Earrings
Fancy Style 14kt White Gold Amethyst & Diamond Earrings, Amethyst approx 6ct, Diamonds approx 1ct VS1-2, Color J.(145LK)
Jewelry & Watches
Lady's Fancy 14kt White Gold Antique Design Diamond Ring
Lady's Fancy 14kt White Gold Antique Design Diamond Ring, Diamond approx 1.50 ct, VS1-VS2, color G.(28LK)
Fine Jewelry
Unisex Fancy 14kt White Gold Green Peridot Ring
Unisex Fancy 14kt White Gold Green Peridot Ring, Green Peridot approx 4ct.(35LK)
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - The Large Circus
Marc Chagall limited edition, "The Large Circus". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x20".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Ascending and Descending", comes with certificate of authenticity, framing available at an additional cost.
Art
"The Rehearsal" -Degas inspired
Inspired by Degas, this oil on canvas is handpainted and signed by an in-house authorized artist. Beautifully framed . Approx. size: 27X32.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Leda Atomica
Salvador Dali signed limited edition, "Leda Atomica". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF LOUIS ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "CAT CARESS" EDITION IS 27 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Pearl/Diamond Necklace
Lady's 14 kt White Gold Pearl/Diamond Necklace, Diamonds weight 4 cts, SI1 SI2 I1, color H I.
General - Original Works
Beautiful Original Hand Signed Lithograph by R.C. Gorman
An original lithograph hand signed by R.C. Gorman. Measurements are approximately 10x8. Comes with certificate of authencity, mint condition, not framed. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LAGUNA SUMMER" CIRCA 1978.COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond Ring in 10K Yellow Gold
1.5 ctw. Diamond Ring in 10K Yellow Gold
Fine Jewelry
Black Diamond Tear Drop Pendant Necklace in 10K Gold
1.33 ctw Black Diamond Tear Drop Pendant Necklace in 10K Gold
Fine Jewelry
Ladies Heart Blue Topaz and White Diamond Ring
Ladies heart shaped blue topaz and white diamond ring set in fine sterling silver. Blue topaz is heart shaped cut and is approximately 3.5 Ct, white diamonds are VSI clarity and G color approximately .33 ct.
Fashion Jewelry
FANCY LADIES DIAMOND BRACELET
FANCY LADIES DIAMOND BRACELET SET IN FINE STERLING SILVER, DIAMONDS ARE APPROXIMATELY 2CT CLARITY IS VS1 AND COLOR IS G.
Fashion Jewelry
Unisex Fancy Sterling Silver "Wide Band" Tiffany Ring
Unisex Fancy Sterling Silver "Wide Band" Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Faded Roses" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Beautiful Unisex 14kt White Gold Diamond Ring
Beautiful Unisex 14kt White Gold Diamond Ring, Diamonds approx 1 ct, VS1, Color G.(10KJ)
General - Old Masters
Henri Matisse- Limited edition -The Circus
Henri Matisse-Limited Edition On Paper. Title "The Circus" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Unisex 14K Gold Diamond Ring
Unisex 14K Yellow Gold Diamond Cluster VSI Color G Heavy Mount.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "The Seine at Vernon" circa 1930, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signed Bouraine Bronze and Ivory - Master of the Beast
Signed bronze and ivory art deco sculpture "Master of the Beast" by artist Bouraine, base signed , carved ivory beautiful painted patina bronze, sits on a marble base. Approx size: 30"x10"x4"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE" CIRCA 1929. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
Art
Silvia A. -GREEN ABSTRACT -Hand Signed Limited Ed. Lithograph on Canvas
This is a limited edition hand signed Lithograph by Silvia A. titled "GREEN ABSTRACT". Medium: Lithograph on Canvas [Signed and Numbered by the artist]. This piece is numbered from an edition size of 95. Image size: 20" x 24". Comes with a certificate of authenticity. Comes unframed. In mint condition!
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Railway Cutting". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Chorus Girl
Signed bronze and ivory art deco sculpture "Chorus Girl" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 30"x10"x4"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Limited Edition Picasso - Vase of Flowers - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Vase of Flowers". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise) , "The Angel of the First Heaven". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 14K WHITE GOLD AMETHYST/DIAMOND RING
This lady's 14K white gold blue amethyst/Diamond Ring is comprise of 4 prongs set round shape amethyst surrounded by 3 prongs set 6 round diamonds.total estimated diamond's weights are.60cts. The total weight of the ring is 2.30grams.clarity SI1 SI2 I1 color HI Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE CANVASBACK DUCK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture - Winged Swan for Bacchanale Ballet
This is a limited edition, signedbronze sculpture layered with 24K gold. It is entitled "WINGED SWAN FOR BACCHANALE BALLET" (1939) by Salvador Dali and comes with the foundry assay. Some variations in marble might occur. Approx. Dimensions: 7.5 in. x 7 in. x 4 in.
Art
"Boy Reading" - Guillaumin - 1905 Lithograph
Limited edition 1906 offset lithograph. Beautifully framed and comes with COA. Approx. size: 20X24.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "MIXED BROOD" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Cockatoo -Icart - Limited Edition on Cancas
Louis Icart Limited Edition on canvas, "Cockatoo". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE TITLED "NU DE PROFIL, FIGURE LISANT", CIRCA 1914. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14 Kt Diamond & Peridot Ring
Peridot approx 2 ct, Diamonds approx .25 ct VS1, G in color.(74DD)
Fashion Jewelry
Unisex Fancy 14 kt White Gold Peridot & Diamond Ring
Unisex Fancy 14 kt White Gold Peridot Ring, Peridot approx 3 cts,s, Diamonds approx .10 cts, VS1 color G.
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Fine Jewelry
Fancy Style 14kt White Gold Pigeon Blood Ruby & Diamond Earrings
Fancy Style 14kt White Gold Pigeon Blood Ruby & Diamond Earrings, Pigeon Blood Ruby approx 3ct, Diamonds approx 1 ct VS1, Color G.(150LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Golden Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Golden Sapphire & Diamond Ring, Golden Sapphire approx 2 ct, Diamonds approx 2 ct VS1, Color G.(36LK)
Fine Jewelry
Lady's Beautiful 14kt White Gold Alexandrite 3 Color Change Ring
Lady's Beautiful 14kt White Gold Alexandrite 3 Color Change Ring, Alexadrite approx 1ct.
General - Prints/Reproductions
Klimt Limited Edition - Church at Unterach
Klimt limited edition, "Church at Unterach". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x20".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Regular Division of the Plane III, comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Palladio's Thalia
Salvador Dali signed limited edition, "Palladio's Thalia". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY IN A LIMITED EDITION TITLED "ARCH & POINT" COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Multi Sapphire/Diamond Necklace
Lady's 14 kt White Gold Multi Sapphire/Diamond Necklace, Sapphires approx 20 cts & Diamonds total weight 5 cts.
General - Original Works
Beautiful Original Hand Signed Lithograph by R.C. Gorman titled "Cactus Flowers"
An original lithograph, "Cactus Flowers by R.C. Gorman hand signed Measurements are approximately 10x8. Comes with certificate of authencity, mint condition, not framed. Inspired first by the graceful landscape of Canyon de Chelly, R.C. Gorman walks and works in beauty. In the Navajo way, beauty is not an abstract standard as seen through the eyes of the beholder. Navajo beauty is that process of becoming or the state of being as one - in flesh and spirit - with the living Earth. This bond between land and people is expressed in the Navajo word Shikeyah or "the land on which we walk." To walk in beauty, then, is to live balance and harmony with Mother Earth and all of her natural creation. To the enlightened, Gorman's art can be seen as both a mirror and window to the abiding world view.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "DELAGE" CIRCA 1975.COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Blue & White Diamond Ring
1.25 ctw. Blue & White Diamond Ring in 10K White Gold
Fine Jewelry
Diamond Heart Pendant and Chain Necklace
1ctw. Diamond Heart Pendant and Chain Necklace
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
STUNNING UNISEX 8.50CT DIAMOND BRACELET
STUNNING UNISEX DIAMOND BRACELET, DIAMONDS APPROXIMATELY 8.50CT CLARITY IS I1 COLOR IS SILVER CAPE.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Fruit Tree" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
ladies 14K Gold Ring
Ladies 14K Beautiful Diamond Cluster 2.5K Diamond VSI
Art
Allens -"Disappearing Act"- Lithograph
Pencil signed and numbered Allens lithograph, "Disappearing Act". Beautifully framed and comes with COA. Approx. size: 24x30. CC-A94
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Red and Yellow Still Life" circa 1931, Bonnard has here expressed his delighted preception of a group of orange and golden fruits. Arranged simply in a basket or bowl of harmonious colour, and surrounded by domestic objects humble in themselves yet obviously beautiful to the artist. Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signed E. Drouot Bronze and Ivory - The Hunter
Signed bronze and ivory art deco sculpture "The Hunter" by artist E. Drouot, base signed , carved ivory beautiful painted patina bronze, sits on a marble base. Approx size: 23x25x9.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE, , MINT CONDITION, VERY RARE PIECE TITLED "MARINE" CIRCA 1929. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Cafe Terrace At Night - Van Gogh - Limited Edition on Canvas
Vincent Van Gogh Limited Edition on canvas, "Cafe Terrace At Night". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Verlag, Vienna". Comes with ceritificate of authenticity, framing available at an additonal cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Guiraud Riviere Bronze and Ivory - Nordica
Signed bronze and ivory art deco sculpture "Nordica" by artist Guiraud Riviere, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 30"x10"x4"
General - Prints/Reproductions
Limited Edition Picasso - Woman In Yellow - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Woman In Yellow". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Avaricious and the Prodigal". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE GRIZZLY BEAR" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Michel Delacroise
Beautifully framed and comes with COA. Approx. size: 19X23.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "OUTCASTS ON THEIR OWN - YOUNG GIANTS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Danseuses Basculant - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Danseuses Basculant". Comes with COA. Approx. size: 20"x24". HC-0051
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "NU AU VISAGE COUPLE", CIRCA 1914 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Beautiful14 Kt Golden Sapphire Ring
Golden Sapphire approx 1 ct. (75DD)
Fine Jewelry
#101 - Fancy Ladys 14K Columbian Emerald Ring
Fancy Ladys 14K Columbian Emerald Ring, Emerald approx .5ct. Diamonds approx .25ct VS1 Color G. Heavy
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Fine Jewelry
Antique Style Nevada Blue Turquois Earrings
Antique Style Nevada Blue Turquois Earrings, Stone dimmensions approx 9mm, Turquoise approx 30ct.(152LK)
Fine Jewelry
Beautiful Unisex 14kt White Gold Diamond Ring
Beautiful Unisex 14kt White Gold Diamond Ring, Diamonds approx 1 ct, VS1, Color G.(37LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Sapphire & Diamond Band
Lady's Fancy 14kt White Gold Sapphire & Diamond Band, Sapphire approx 1ct, Diamonds approx 1.50 ct VS2, Color G.(38LK)
General - Prints/Reproductions
"Personnages de Comedie" by Barbier
Georges Barbier was a painter, designer and illustrator and easily one of the greatest French illustrators of the early 20th Century. Barbier was a leading figure in the birth of the Art Deco style and renowned for his exquisite illustrations that capture the mood, fashion & atmosphere of the 'Roaring Twenties'. He also frequently contributed to many important fashion publications and is regarded as aprincipal artist of the time frame. Georges Barbier became most famous with the publication of two rare albums representing the dancers Nijinsky and Karsavina in the years 1913-1914 as illustrated above. A prolific designer, Barbier worked for many years in the field of theatre design, cultivating an aptitude for vivid colour effects derived from the example of the revolutionary Russian artist, costume and set designer Léon Samoilovitch Bakst. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 31in x 27in. CC-2H
General - Prints/Reproductions
Klimt Limited Edition - Cartoon for the Stoclet Frieze
Klimt signed limited edition, "Cartoon for the Stoclet Frieze". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Sky and Water I", comes with certificate of authenticity, framing available at an additional cost.
Art
"The Rec Room" -Van Gogh- Embellished Limited Edition Giclee
Van Goghg embellished Limited Edition giclee, "The Rec Room". Beautifully framed . Approx. size: 28X35.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Goddess Leaning On Her Elbow
Salvador Dali signed limited edition, "Goddess Leaning On Her Elbow". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY CLAUDE MONET
LITHOGRAPH IN THE MANNER OF CLAUDE MONET IN A LIMITED EDITION TITLED "VILLAS AT BORDIGHERA" EDITION IS 26 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SOUVENIRS" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Red & White Diamond Ring
1.25 ctw. Red & White Diamond Ring in 10K Yellow gold
Fine Jewelry
Ladies Fancy Emerald and White Topaz Ring
Ladies' fancy emerald and white topaz ring set in fine sterling silver. Emerald is approximately 1ct and White topaz is approximately 1ct
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Fashion Jewelry
LADIES FANCY DIAMOND SKELETON KEY NECKLACE
LADIES FANCY DIAMOND SKELETON KEY NECKLACE, DIAMONDS ARE APPROXIMATELY 0.60CT CLARITY IS VS1 COLOR IS G
Fashion Jewelry
Unisex Beautiful Sterling Silver "Plain Band" Tiffany Ring
Unisex Beautiful Sterling Silver "Plain Band" Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Land Fracture" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#39 - Fancy Ladys 14K Ruby and Diamond Ring
Fancy Ladys 14K Ruby and Diamond Ring. Ruby approx 1ct, Diamond approx .25ct VS1 color G
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper."Three Glorious Emigas" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Ladies Royal Blue 14 k Gold Topaz
Ladies Royal Blue 14 k Gold Topaz Diamond .33K
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Nude Before a Mirrior" circa 1933, This is one of Bonnard's many variations of the same theme: a nude - generally his wife Marthe - standing before a mirror in undisturned self-contemplation. As the artist's friend Natanson wrote" 'The colours of a woman's flesh and their correspondences with the surrounding atomsphere constitute the real subject of the picture.' The subtle yet pervasive gold, blues, pinks and greens that define forms and surfaces throughout the room are all repeated in the model's luminous flesh tones. Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Butterfly Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Butterfly Dancer. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 17".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "LE DUO" CIRCA 1937. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
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General - Old Masters
The Starry Night- Van Gogh - Limited Edition on Canvas
Vincent Van Gogh Limited Edition on canvas, "The Starry Night". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Interior with Girl Playing Piano". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Starfish
Signed bronze and ivory art deco sculpture "Starfish" by artist Chiparus, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 29"x10.5"x4.5".
General - Prints/Reproductions
Limited Edition Picasso - The Resevoir - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Resevoir". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise) , "The Ascent to Venus". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 14K WHITE GOLD LAB ORANGE SAPPHIRE/DIAMOND RING
This lady's 14K white gold blue lab orange sapphire/Diamond Ring is comprise of 5 prongs set round shape lab orange sapphire surrounded by 2 prongs set 9 round diamonds.total estimated diamond's weights are.90cts. The total weight of the ring is 2.90grams.clarity SI1 SI2 I1 color HI Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE COTTONTAIL RABBIT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Original Limited Edition 24K Gold Layered Bronze Art Deco Chiparus Sculpture -Diva Dancer
This Chiparus sculpture, "Diva Dancer" , is a limited edition 24K gold layered bronze sculpture.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "LATE SPRING ON THE BARREN GROUNDS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Danseuses Vertes - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Danseuses Vertes". Comes with COA. Approx. size: 20"x24". HC-0052
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE TITLED "NU AU ROCKING CHAIR", CIRCA 1914 . Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14kt White Gold Kunzite, Rubies & Diamond Ring
Lady's Fancy 14kt White Gold Kunzite, Rubies & Diamond Ring, Kunzite approx 12ct, Rubies approx .50ct & Diamonds approx .50 ct VS1, Color G.(65LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Diamond Promise Ring
Lady's Fancy 14kt White Gold Diamond Promise Ring, Diamonds approx .50ct VS1, Color G.(47LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Pink Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Pink Sapphire & Diamond Ring, Pink Sapphire approx 3.25 ct, Diamonds approx 1ct VS2, Color G. (39LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Ruby Red Spinel & Diamond Ring
Lady's Fancy 14kt White Gold Ruby Red Spinel & Diamond Ring, Ruby Red Spinel approx 3ct, Diamonds approx .50ct VS1, Color G.
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - Circus Arena
Marc Chagall limited edition, "Circus Arena". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Cycle", comes with certificate of authenticity, framing available at an additional cost.
Art
"Floral III" by Schofield
Embellished Limited Edition on canvas. Approx. size: 27X34.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Dream
Salvador Dali signed limited edition, "The Dream". Comes with COA. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "ALSACE", EDITION IS 22 OF 95, COMES WITH CERITIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SPRINGTIME COLORS" CIRCA 1977.COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Blue & White Diamond Ring in 10K White Gold
1.5 ctw. Blue & White Diamond Ring in 10K White Gold
Fine Jewelry
Women's Fine Fancy Two Tone White Topaz Ring
women's fancy two tone white topaz ring set in fine sterling silver. White topaz is approximately 1.5 CT
Fashion Jewelry
LADIES STUNNING DIAMOND HEART KEY & LOCKET CHARM NECKLACE
LADIES STUNNING DIAMOND HEART, LOCKET AND KEY CHARM NECKLACE, SET IN FINE STERLING SILVER, DIAMONDS ARE APPROXIMATELY 1.50 CT CLARITY IS VS2 AND COLOR IS G
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Parched Land" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
ladies 14K Gold Ring
Ladies 14K gold Beautiul Fancy diamond Cluster 2K VSI Color G
Art
David Knowlton Lithograph - Long Shadows
Beautifully framed David Knowlton lithograph, "Dark Shadows". Comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Nude in the Bath" circa 1935, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signal Man - Bronze and Ivory Sculpture by Pierre Le Faguays
Pierre Le Faguays broze and ivory sculpture, Signal Man. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE" CIRCA 1937. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Rec Room- Van Gogh - Limited Edition on Canvas
Vincent Van Gogh Limited Edition on canvas, "Rec Room". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "View of the Auvers". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Argentinian Dancer - Bronze and Ivory Sculpture by Chiparus
Signed bronze and ivory art deco sculpture "Argentinian Dancer" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 18"x7.5"x5"
General - Prints/Reproductions
Limited Edition Picasso - Girl with a Mandolin - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Girl with a Mandolin". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Furies". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Gorgeous White Gold Sapphire & Diamond Ring
Lady's White Gold Sapphire & Diamond Ring, Blue Sapphire approx 8 ct, Diamonds approx 30 points VS1, G in color.(26DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 14K YELLOW GOLD CITRINE/DIAMOND RING
This lady's 14K yellow gold citrine/Diamond Ring is comprise of 4 prongs set round shape citrine surrounded by 3 prongs set 6 round diamonds.total estimated diamond's weights are.60cts. The total weight of the ring is 2.40grams.clarity SI1 SI2 I1 color HI Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MOURNING DOVE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture- Winged Bust on Marble Base
Dali bronze sculpture layered with 24K gold, "Winged Bust" on marble base. Comes with foundry assay. Some variations in marble might occur. Signed and numbered. Approx . Size: 14" x 7"x 5".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
"Apre la bain"- Morisot - Lithograph
Beautifully framed and comes with COA. Approx. size:22X19.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "EVENING EXCURSION" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Horses with Jockeys - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Horses with Jockeys". Comes with COA. Approx. size: 20"x24". HC-0053
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "TORSE, LES YEUX NOIRS", CIRCA 1914. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Plt HEART Shape Royal Blue Topaz Ring
Topaz approx 4 ct. (78DD)
Fashion Jewelry
Lady's Fancy 14 kt White Gold Black Diamond Ring
Lady's Fancy 14 kt White Gold Black Diamond Ring, Black Diamond approx .75 cts.
Fine Jewelry
Lady's Fancy 14kt Yellow Gold Diamond Ring
Lady's Fancy 14kt Yellow Gold Diamond Ring, Diamonds approx 1.10ct VS1, Color G.(69LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8.50 ct, Diamonds approx .50ct VS1, Color G.(62LK)
Fine Jewelry
Lady's Very Fancy 14kt White Gold Diamond Ring
Lady's Very Fancy 14kt White Gold Diamond Ring, Diamonds approx 1 ct, VS1, Color I.(40LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Illustration for don Quixote I
Salvador Dali signed limited edition, "Illustration for don Quixote I". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Filmore Mix Media Lithograph "Redondo Beach Hotel , Circa 1890"
Filmore Mix Media Lithograph "Redondo Beach Hotel , Circa 1890" , hand signed Limited Edition, approx dimension 20x20 in.
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Metamorphosis III", comes with certificate of authenticity, framing available at an additional cost.
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Art
"Looking Over the Sea" by Zhen Huan Lu
Zhen Huan Lu was born in Shanghai, China. He obtained his degree in scenic design from the Shanghai theater Academy. He eventually became an assistant professor at the school. His paintings have been exhibited in museums and galleries throughout China and several works have been placed in the collection of the China National Art Museum. Mr. Lu had his first one man show in New York City in 1986 and has subsequently moved to this country where he now resides in Georgia. Most recently, Mr. Lu has received the honor of being selected to be the official painter of the 2002 White House Christmas Card collection. Beautifully framed lithograph. Approx. size: 27X34.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Elephants And Swans
Salvador Dali signed limited edition, "Elephants And Swans". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "MARINE AT GUERNESY", EDITION IS 22 OF 95, COMES WITH CERITIFICATE OF AUTHETICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Pearl/Diamond Necklace
Lady's 14 kt White Gold Pearl/Diamond Necklace, Diamonds weight 4 cts, SI1 SI2 I1, color H I.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "TREES IN DIABLO" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond Channel Set Ring in 10K Yellow Gold
1 ctw. Diamond Channel Set Ring in 10K Yellow Gold
Fine Jewelry
Diamond 10K Gold Circle-Of-Love Necklace
1/2 ctw. Diamond 10K Gold Circle-Of-Love Necklace
Fine Jewelry
Ladies Fancy Golden Citrine and White Topaz Ring
ladies fancy golden citrine and white topaz ring set in fine sterling silver. Golden citrine is approximately 2 CT and white topaz is approximately .50 CT
Fashion Jewelry
14K GOLD BLUE SAPPHIRE HEART PENDANT NECKLACE
14K YELLOW GOLD BLUE SAPPHIRE HEART NECKLACE, BLUE SAPPHIRE IS APPROXIMATELY 1CT.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Henri Matisse Limited Edition
Limited Edition On Paper. Henri Matisse Title "Nightmare Of White Elephant" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
ladies 14K Gold Ring
Ladies 14K Yellow Gold Aprox. 6K Royal Purple Topaz White sapphire Aprox. 10K
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Hand Signed and Numbered Su Martin Lithograph - Saturday Afternoon
This limited edition lithograph is hand signed and numbered by the artist, Su Martin. Titled, "Saturday Afternoon", it comes with a COA and framed. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "The Open Window" circa 1921, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Book Lady - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Book Lady. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:21.5"x11"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE" CIRCA 1939. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Circus- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Circus". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "The Quai De Beray in Paris". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Tanara
Signed bronze and ivory art deco sculpture "Tanara" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 22"x8"x8"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Limited Edition Picasso - The Aficionado - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Aficionado". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise) , "Dante In Doubt". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
LADY'S 10K WHITE GOLD TANZANITE/DIAMOND PENDANTZ
This lady's 10K white gold tanzanite/Diamond pendant is comprise of 2 prongs set round shape tanzanite surrounded by 2 prongs set 6 baguette cut diamonds.total estimated diamond's weights are.30cts. The total weight of the pendant is 1.60grams.clarity SI1 SI2 color IJ Comes with certified gemologists lab report/appraisal.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE RED FOX" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Fernando Valls Limited Edition Original Limited Edition 24K Gold Layered Bronze Sculpture - Boy
Fernando Valls , "Boy", is a limited edition 24K gold layered bronze sculpture.
Art
1906 Sisley Offset Lithograph
Limited edition Sisley plate signed offset lithograph. Beautifully framed and comes with COA. Approx. size: 20X24.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "FIRST ON THE WING, YOUNG PINTAILS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Race Horses - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Race Horses". Comes with COA. Approx. size: 20"x24". HC-0054
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "NU ASSIS DE DOS", CIRCA 1914. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#120 - Fancy Ladys Columbian Emerald Ring
Fancy Ladys Columbian Emerald Ring. Emerald is approx 1ct. Approx .5 Diamonds VVS1 Color G. Heavy
Fine Jewelry
Unisex Fancy 14kt Yellow Gold Sapphire Ring
Unisex Fancy 14kt Yellow Gold Sapphire Ring, Sapphire approx 2ct.(70LK)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8ct, Diamonds approx 1 ct VS1-VS2, Color G.(63LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Citrine & Diamond Ring
Lady's Fancy 14kt White Gold Citrine & Diamond Ring, Citrine approx 3 ct, Diamonds approx .25 ct VS1, Color G.41LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Atavistc Vestiges After the Rain
Salvador Dali signed limited edition, " Atavistc Vestiges After the Rain". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Belvedere", comes with certificate of authenticity, framing available at an additional cost.
Art
"Stairway to the Graden" by Borelli
Guido Borelli da Caluso is an Italian painter. He was born in Caluso in 1952. He comes from an artistic background, and his family always encouraged him to develop his talent, as early as childhood. He won a contest at 13 and held his first exhibition at the age of 17 at Ars Plauda Gallery in Turin. After high school, he received his artistic training at the Accademia Albertina in Turin. Today, he has permanent exhibitions in art galleries, in Italy, France, the United Kingdom and in the U.S. Hand signed lithograph. Approx. size: 36X30.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Illuminated Pleasures
Salvador Dali signed limited edition, "Illuminated Pleasures". Comes with COA. Edition number may vary from pictured.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "AMALFI" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Garnet & Diamond Ring in 10K Gold
2.29 ctw. Garnet & Diamond Ring in 10K Gold. Comes with GLA Est. Retail Replacement Value Appraisal
Fine Jewelry
Diamond & 10K Gold Star Pendant & Chain Necklace
1/2ctw. Diamond & 10K Gold Star Pendant & Chain Necklace
Fine Jewelry
Ladies Blue Sapphire and White Topaz Ring
Ladies' fancy blue sapphire and white topaz ring set in fine sterling silver. Blue sapphire is approximately 1ct and White topaz is approximately 1ct
Fashion Jewelry
14K GOLD BLUE SAPPHIRE HEART PENDANT NECKLACE
14K YELLOW GOLD BLUE SAPPHIRE HEART NECKLACE, BLUE SAPPHIRE IS APPROXIMATELY 1.05CT.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Interior II" comes with certificate of authenticity, framing available at an additional charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
#28 Ladys 14K Yellow Gold Diamond Ring
Ladys 14K Yellow Gold Diamond Ring. Approx .75ct Diamonds VS1 Color G
Fine Jewelry
Lady's Very Stylish 14 kt Yellow Gold Multi Sapphire/Diamond Ring
Lady's Very Stylish 14 kt Yellow Gold Multi Sapphire/Diamond Ring, Multi color Sapphires approx weight 5.0 cts, Diamonds approx .30 cts, S1 S2, color H & I. Approx Total weight 5.00 gms.
Art
Limited Edition Original Serigraph by Helen Ankist - Pewter Reflection
Limited Edition serigraph by Helen Ankist, "Pewter Reflection". This comes from an edition of only 520. It comes framed and with the COA from MSO Art Publishing. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Dining Room Overlooking Garden" circa 1934, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
THE ARCHER - Bronze and Ivory Sculpture by Pierre-Nicolas Tourgueneff
Pierre-Nicolas Tourgueneff bronze and ivory sculpture, "The Archer". This sculpture offers exceptional detail of a medieval archer, signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 36"x22"x14".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "NATURE MORTE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le Cirque 4- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque 4". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Woman Bathers". Comes with ceritificate of authenticity, framing available at an additonal cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Theresa and Her Loving Does - Bronze and Ivory Sculpture by Richeers
L. Richeers extremely rare bronze and ivory sculpture. "Theresa and Her Loving Does". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.Circa 1926 Approx size: 100pd
General - Prints/Reproductions
Limited Edition Picasso - The Accordionist - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Accordionist". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Beaterice Resolves Dante's Doubt". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MALLARD DUCK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Alexander Archipenko Original Limited Edition 24K Gold Layered Bronze Sculpture - Torso
Alexander Archipenko original limited edition 24K gold layered bronze sculpture, "Torso".
Art
Borelli -"The Garden Courtyard" -Lithograph
Guibo Borelli hand signed and numbered limited edition lithograph. Beautifully framed and comes with COA. Approx. size: 20X24.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "CANVASBACK BACHELOR DRAKES RETURN TO LONG ISLAND BAY" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Seated Dancer - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Seated Dancer". Comes with COA. Approx. size: 20"x24". HC-0055
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "TETE PENCHEE VERS LA GAUCHE", CIRCA 1914. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Beautiful 14 Kt White Gold Ruby Ring
Ruby approx 30 points.(80DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
#121 - Fancy Ladys Columbian Emerald Ring
Fancy Ladys Columbian Emerald Ring. Emerald is approx .5ct. Approx .5 Diamonds VVS1 Color G. Heavy
Fashion Jewelry
Lady's Fancy 14 kt White Gold Marqui Shaped Peridot & Diamond Ring
Lady's Fancy 14 kt White Gold Marqui Shaped Peridot & Diamond Ring, Peridot approx 3 cts, Diamonds approx 2.25 cts, VS1 color G.
Fine Jewelry
Lady's Fancy 14kt White Gold Pigeon Blood Ruby Ring
Lady's Fancy 14kt White Gold Pigeon Blood Ruby Ring, Pigeon Blood Ruby approx 16.25ct.(71LK)
Fashion Jewelry
Lady's Fancy 14kt White Gold Pear Shape Golden Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Pear Shape Golden Sapphire & Diamond Ring, Golden Sapphire approx 8.5 ct, Diamonds approx 1 ct VS1, Color G.(64LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Aqua Ring
Lady's Fancy 14kt White Gold Aqua Ring, Aqua approx 4ct.(42LK)
Fine Jewelry
Unisex Fancy Style 14kt White Gold Amethyst Ring
Unisex Fancy Style 14kt White Gold Amethyst Ring, Amethyst approx 5ct.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Weaning of Furniture
Salvador Dali signed limited edition, "The Weaning of Furniture". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Filmore Mix Media Lithograph "Sea Port"
Filmore Mix Media Lithograph "Sea Port" , hand signed Limited Edition, approx dimension 20x20 in.
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Reptiles", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Warning Of Furniture - Nutrition
Salvador Dali signed limited edition, "Warning Of Furniture - Nutrition". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY CLAUDE MONET
LITHOGRAPH IN THE MANNER OF CLAUDE MONET IN A LIMITED EDITION TITLED EDITION IS 29 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSONS ARE APPROXIMATELY 18X21
Fine Jewelry
Lady's 18 kt White Gold Amethyst/Diamond Necklace
Lady's 18 kt White Gold Amethyst/Diamond Necklace, Amethyst weight 5.38 cts, Diamonds weight 3 cts, SI1 SI2 I1, color H I.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "TYRRHENIAN SEA" CIRCA 1979.COMES WITH CERTIFICATE OF AUTHENTICITY. FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Lab Emerald Ring in 10K Gold
2 ctw Diamond & Lab Emerald Ring in 10K Gold
Fine Jewelry
1 ctw Amethyst & Diamond 10K Gold Necklace
1 ctw Amethyst & Diamond 10K Gold Necklace
Fine Jewelry
Women's Fancy Amethyst and White Topaz Ring
Women's fancy amethyst and white topaz ring set in fine sterling silver. Amethyst is approximately 4 CT and white topaz is approximately .50 CT.
Fashion Jewelry
14K GOLD & EMERALD CROSS
14K YELLOW GOLD AND EMERALD CROSS, EMERALD IS APPROXIMATELY .30CT
Fashion Jewelry
Unisex Fancy Sterling Silver "Royal" Design Tiffany Ring
Unisex Fancy Sterling Silver "Royal" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Figure and Pond Reflection" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper.Title " Lagoons" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy 14 kt Yellow Gold 7" Pearl Bracelet
Lady's Very Fancy 14 kt Yellow Gold 7" Pearl Bracelet, Compromised of 32 4.8 mm pearls, approx total weight 9.50 gms.
Art
Beautiful signed lithograph
This lithograph is signed, and comes framed. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph Pierre Bonnard
lithograph in the manner of Pierre Bonard bearing the signature titled "Self Portrait" circa 1944-45, Comes with certificate of authenticity, framing available at an additional cost.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - The Squall
Signed bronze and ivory art deco sculpture "The Squall" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.. Approx size: 30"x10"x4"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE, , MINT CONDITION, VERY RARE PIECE TITLED "TETE DE FEMME" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le CirQue 5- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque 5". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Signed Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne bearing the signature, titled "Portrait of Victor Choqurt". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Male Russian Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Male Russian Dancer. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base .
General - Prints/Reproductions
Limited Edition Picasso - Harlequin with Violin - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Harlequin with Violin". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Bishop Cum Troubador". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MULE DEER" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Dali Original LImited Edition 24K Gold Layered Bronze Sculpture - SPACE ELEPHANT FROM THE TEMPTATI
This is a limited edition sculpture made from bronze and layered with 24K gold, entitled "SPACE ELEPHANT FROM THE TEMPTATION OF SAINT ANTHONY" (1946) by Salvador Dali. It comes with the foundry assay. Some variations in marble might occur. Approx. size: 21in x 8in x 5in.
Art
Borelli -"The Garden Courtyard" -Lithograph
Guibo Borelli hand signed and numbered limited edition lithograph. Beautifully framed and comes with COA. Approx. size: 20X24.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "BACHELOR MALLARDS SHIFTING FROM LAKE TO MARSH" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
The Star - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "The Star". Comes with COA. Approx. size: 20"x24". HC-0056
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE TITLED "LA NUIT", CIRCA 1922. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 18 Kt Sapphire & Diamond Ring
Sapphire approx 3 ct , Diamonds approx 20 points VS1, G in color.(85DD)
Fine Jewelry
#123 - Fancy Ladys Columbian Emerald Ring
Fancy Ladys Columbian Emerald Ring. Emerald is approx .75ct. Diamond approx .25ct. Heavy
Fine Jewelry
Lady's Fancy 14kt White Gold Pigeon Blood Ruby Ring
Lady's Fancy 14kt White Gold Pigeon Blood Ruby Ring, Pigeon Blood Ruby approx 3.5ct.(72LK)
Fine Jewelry
Unisex Fancy 14kt White Gold Aqua Marine & Diamond Ring
Unisex Fancy 14kt White Gold Aqua Marine & Diamond Ring, Aqua Marine approx 8.5ct, Diamonds approx .50ct VS1, Color G.(66LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Diamond Promise Ring
Lady's Fancy 14kt White Gold Diamond Promise Ring, Diamonds approx .50ct VS1, Color G.(44LK)
General - Prints/Reproductions
"At the Moulin Rouge" by Toulouse-Latrec
Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (24 November 1864 – 9 September 1901) was a French painter, printmaker, draughtsman, and illustrator, whose immersion in the colourful and theatrical life of fin de siècle Paris yielded an œuvre of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec is known along with Cézanne, Van Gogh, and Gauguin as one of the greatest painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house a new record was set when "La blanchisseuse", an early painting of a young laundress, sold for $22.4 million U.S.Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 31in x 27in. CC-2H
Fine Jewelry
Unisex Fancy Design 14kt White Gold Pink Sapphire & Diamond Ring
Unisex Fancy Design 14kt White Gold Pink Sapphire & Diamond Ring, Pink Sapphire approx 5ct, Diamonds approx 1ct VS1, Color G.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Jan Vermeer Limited Edition - The Concert
Jan Vermeer Limited Edition , "The Concert". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Relativity", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Great Paranoiac
Salvador Dali signed limited edition, "The Great Paranoiac". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY ROY LICHTENSTEIN
BEAUTIFUL LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "LANDSCAPE WITH FIGURES AND RAINBOW" EDITION 27 OF 95 COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Diamond Necklace
Lady's 14 kt White Gold Diamond Necklace, Diamonds weight 15 cts, SI1 SI2 I1, color H I.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PORTO SANTO STEFANO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Ruby Ring in 10K Gold
2 ctw Diamond & Created Ruby Ring in 10K Gold
Fine Jewelry
Garnet & Diamond 10K Gold Necklace
1 ctw Garnet & Diamond 10K Gold Necklace
Fine Jewelry
Ladies Fancy Morganite Ring
Ladies fancy morganite ring set in fine sterling silver. Morganite is approximately 2 CT
Fashion Jewelry
14K GOLD & EMERALD CROSS
14K YELLOW GOLD AND EMERALD CROSS, EMERALD IS APPROXIMATELY .33CT
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
Unisex Fancy Sterling Silver "1837 T&Co. Band" Design Tiffany Ring
Unisex Fancy Sterling Silver "1837 T&Co. Band" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Seated Figure in a Landscape" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#48 - 14K Gold Promise Ring
14K Gold Promise Ring
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold Mabe Pearl Ring
Lady's Fancy 14 kt Yellow Gold Mabe Pearl Ring, Ash color Mabe Pearl 16 mm approx weight 7.50 grams.
Art
Alex Allens Pencil Signed and Numbered Lithograph - Disappearing Act
This limited edition Alex Allens lithograph is pencil signed and numbered. Titled, "Disappearing Act", it comes with a COA and framed. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED " LES POISSONS" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le Cirque 6- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque 6". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Self Portrait". Comes with ceritificate of authenticity, framing available at an additonal cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Starlight
Signed bronze and ivory art deco sculpture "Starlight" by artist Chiparus, base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base.
General - Prints/Reproductions
Limited Edition Picasso - Mother and Child - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Mother and Child". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Blashemers". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Fancy 14 Kt Garnet & Diamond Ring
Lady's Fancy 14 Kt Garnet & Diamond Ring, Garnet approx 8 ct, Diamonds approx .50 ct VS1, G in color.(35DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Women's Fancy Black Diamond and White Diamond Bracelett
Womens fancy black diamond and white diamond bracelet set in fine silver, black diamonds are approximately 3CT and white diamonds are approximate 2CT VS1 clarity G color.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE BOBWHITE QUAIL" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Salvador Dali Original Limited Edition 24K Gold Layered Bronze Sculpture -Venus Di Milo
Salvador Dali limited edition 24K gold layered bronze sculpture "Venus Di Milo".
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "EN ROUTE TO MOULT, GIANT CANADAS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Horses - Jean Dufy - Limited Edition on Canvas
Jean Dufy Limited Edition on canvas. "Horses". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LA ROBE JAUNE, RUBANS NOIRS", CIRCA 1922. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy White Gold Blue Topaz Diamond Ring
Topaz approx 3 ct, Diamonds approx 10 points VS1, G in color.(86DD)
Fine Jewelry
Lady's Fancy 14kt White Gold Diamond Bracelet
Lady's Fancy 14kt White Gold Diamond Bracelet, Diamonds approx 3ct I1 - JK.(74LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8ct, Diamonds approx .25ct VS1, Color G.(67LK)
Jewelry & Watches
Lady's Antique Style 14 kt White Gold Diamond Ring
Lady's Antique Style 14 kt White Gold Diamond Ring, Diamonds approx 1ct VS2, Color I.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Sublime Moment
Salvador Dali signed limited edition, "The Sublime Moment". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Fish", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"Bacchanale" - Dali - Limited Edition
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a prominent Spanish Catalan surrealist painter born in Figueres. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[1][2] His best-known work, The Persistence of Memory, was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior, in order to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork. Plate Limited Edition. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Three Young Surrealist Women
Salvador Dali signed limited edition, "Three Young Surrealist Women". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "THE KISS" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Pearl/Diamond Necklace
Lady's 14 kt White Gold Pearl/Diamond Necklace, Diamonds weight 5 cts, SI1 SI2 I1, color H I.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PORTO SANTO STEFANO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Large Genuine Pearl & Diamond Swirl 10K Gold Ring
Large Genuine Pearl & Diamond Swirl 10K Gold Ring
Fine Jewelry
Women's Elegant Pink Sapphire and Morganite Ring
Women's elegant pink sapphire and morganite ring set in sterling silver. Pink Sapphire is approximately 4.5 CT and Morganite is approximately .50 CT
Jewelry
AUTHENTIC SUBMARINER ROLEX WATCH
AUTHENTIC SUBMARINER ROLEX WATCH OYSTER PERPETUAL
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. Title "The Horse, Rider and Clown" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 10 kt Yellow Gold Diamond Bracelet
Lady's Fancy 10 kt Yellow Gold Diamond Bracelet, compromised of 2 prongs set 49 round diamonds, Diamonds approx 6.00 cts, clarity SI2 I1, color K & L. Total weight 8.10 gms.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
Medium - Sculptures
Clara - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Clara. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 24"x31x7".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "LA CARAFE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Le Cirque III- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque III". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Self Portrait". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Parrot Dancer
Signed bronze and ivory art deco sculpture "Parrot Dancer" by artist Chiparus, base signed, carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 22"x6"x6"
General - Prints/Reproductions
Limited Edition Picasso - Man Leaning On A Table - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Man Leaning On A Table". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Cross of Mars". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful Plt Mystic Topaz With Diamonds Ring
Lady's Plt Mystic Topaz With Diamonds Ring, Topaz approx 8.5 ct, Diamonds approx .75 ct VS1, G in color, Very Beautiful!!!(40DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE BLACK BEAR" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Plate signed Pablo Picasso lithograph
Pablo Picasso lithograph. Plate signed. 22X19.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "AUGUST RENDEZVOUS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Seaside- Jean Dufy - Limited Edition on Canvas
Jean Dufy Limited Edition on canvas, "Seaside". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU COUCHE, FOND MOUCHARABI", CIRCA 1922. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy White Gold Black Diamond Ring
Black Diamonds approx 5 ct.(87DD)
Fashion Jewelry
Lady's Beautiful 14 kt White Gold Quartz & Diamond Ring
Lady's Beautiful 14 kt White Gold Quartz & Diamond Ring, Quartz approx 5 cts, Diamonds approx .50 cts, VS1 color G.
Fine Jewelry
Lady's Fancy 14kt White Gold Diamond Double Sided Heart Shape Pendant with Necklace
Lady's Fancy 14kt White Gold Diamond Double Sided Heart Shape Pendant with Necklace, White Diamonds approx 3ct VS1, Color G. Black Diamonds 1ct.(76LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Aqua Marine & Diamond Ring
Lady's Fancy 14kt White Gold Aqua Marine & Diamond Ring, Aqua Marine approx 16ct, Diamonds approx .25ct VS1, Color G.(68LK)
Fine Jewelry
Lady's Fancy 14kt White Gold White Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold White Sapphire & Diamond Ring, White Sapphire approx 5ct, Diamonds approx 1ct VS1, Color G.(46LK)
Fine Jewelry
Lady's Beautiful 14kt White Gold Cognac Sapphire & Diamond Ring
Lady's Beautiful 14kt White Gold Cognac Sapphire & Diamond Ring, Cognac Sapphire approx 3ct, Diamonds approx .50 ct VS1, Color I.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Fighting the Minotaur
Salvador Dali signed limited edition, "Fighting the Minotaur". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Mobius Strip II", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"St John on the Cross" - Dali - Limited Edition
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a prominent Spanish Catalan surrealist painter born in Figueres. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[1][2] His best-known work, The Persistence of Memory, was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior, in order to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork. Plate Limited Edition. Approx. size: 19in x 22in
Art
LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR IN A LIMITED EDITION TITLED "ROWERS AT CHATOU" EDITION IS 21 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso, unframed, mint condition, dimensons are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VERMOUTH BOTTLES" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Lab Ruby Ring in 10K White Gold
1.50 ctw Diamond & Lab Ruby Ring in 10K White Gold
Fine Jewelry
LOVE Diamond Circle 10K Gold Necklace
LOVE Diamond Circle 10K Gold Necklace
Fashion Jewelry
STUNNING 18K DATE JUST ROLEX
STUNNING AUTHENTIC DATE JUST ROLEX, 18K TWO TONE, 2004 HAS BOOKLET AND BOX.
Fashion Jewelry
Lady's Fancy Stylish Sterling Silver Tiffany Ring
Lady's Fancy Stylish Sterling Silver Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Lady's Very Fancy 14 kt Yellow Gold Diamond Ring
Lady's Very Fancy 14 kt Yellow Gold Diamond Ring, Diamonds approx 1.50 cts, clarity s1 s2, approx total weight 3.10 gms.
Art
Renoir Posthumous Etching - Chapeau Epingle
This is a very beautifully framed Renoir etching, "Chaeau Epingle". Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
Medium - Sculptures
Cleopatra - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Cleopatra . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "TABLE DE TOILETTE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le Cirque VII- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque VII". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Still Life with Fruit Dish". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Oriental Dancer
Signed bronze and ivory art deco sculpture "Oriental Dancer" by artist Chiparus, base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size:16"x6"x6"
General - Prints/Reproductions
Limited Edition Picasso - Studio with Plaster Bust - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Studio with Plaster Bust". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "In the Hands of Antaeus". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Women's Fancy Pink Sapphire and Diamond Bracelet
Womens fancy pink sapphire and diamond Bracelet set in fine sterling silver, pink sapphire is approximately 5CT and white diamonds are approximately 3CT VS1 clarity I color
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE WOODCOCK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture - Horse, The Temptation Of Saint Anthony
This is a limited edition, signed sculpture made from bronze and layered with 24K gold entitled "HORSE" THE TEMPTATION OF SAINT ANTHONY (1946) by Salvador Dali. Comes with the foundry assay. Some variations in marble might occur. Approx. Dimensions: 10in. x 5 in. x 5 in.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "YOUNG CANVASBACK ON THE MOVE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Harlequin - Paul Cezane - Limited Edition On Canvas
Paul Cezanne Limited Edition on canvas, "Harlequin". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE A LA CHAISE - LONGUE DANS PAYSAGE", CIRCA 1922. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14 Kt Gold Ruby & Diamond Ring
Ruby approx 1 ct, Diamonds approx 15 points VS1, G in color.(99DD)
Fine Jewelry
#128 - Fancy Ladys Columbian Emerald Ring
Fancy Ladys Columbian Emerald Ring. Approx .25 Diamonds VS1 Color G. Approx .5ct Emerald. Heavy
Fine Jewelry
Lady's Fancy 14kt Yellow Gold Diamond Heart Shape Pendant with Necklace
Lady's Fancy 14kt Yellow Gold Diamond Heart Shape Pendant with Necklace, Diamonds approx 3ct VS1-VS2, Color G-H.(79LK)
Fine Jewelry
Lady's Beautiful 14kt White Gold Black Diamond Ring
Lady's Beautiful 14 kt White Gold Black Diamond Ring, Diamond approx 1.25 ct. (3KK)
Fine Jewelry
Lady's Fancy 14kt White Gold Brownish Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Brownish Sapphire & Diamond Ring, Brownish Sapphire approx 2.5ct, Diamonds approx .50 ct VS1, Color G.(48LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Pink Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Pink Sapphire & Diamond Ring, Pink Sapphire approx 2ct, Diamonds approx 2ct VS1, Color J.
General - Prints/Reproductions
George Suerat Signed Limited Edition - Bathers at Asnieres
George Suerat signed limited edition, "Bathers at Asnieres". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Snakes", comes with certificate of authenticity, framing available at an additional cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"St George and the Dragon" by Dali
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989) was a prominent Spanish Catalan surrealist painter born in Figueres. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[1][2] His best-known work, The Persistence of Memory, was completed in 1931. Dalí's expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to a self-styled "Arab lineage," claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior, in order to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork. Plate Limited Edition. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Music - The Red Orchestra
Salvador Dali signed limited edition, "Music - The Red Orchestra". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "VENUS" EDITION IS 27 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Tanzanite/Diamond Bracelet
Lady's 14 kt White Gold Tanzanite/Diamond Bracelet, Tanzanite weight 13 cts, Diamonds weight 3 cts, SI1 SI2 I1, color H I.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PIAZZA SAN MARCO" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Ruby Ring in 10K Yellow Gold
2.50 ctw Diamond & Created Ruby Ring in 10K Yellow Gold
Fine Jewelry
#1 MOM Diamond 10K Gold Circle Necklace
#1 MOM Diamond 10K Gold Circle Necklace
Fashion Jewelry
STUNNING LADIES ROYAL BLUE TOPAZ & DIAMOND RING
STUNNING LADIES ROYAL BLUE AND DIAMOND RING IN AN ANTIQUE FILLIGRE, BLUE TOPAZ IS APPROXIMATELY 6.00CT AND DIAMONDS ARE APPROXIMATELY 0.60CT VS1 CLARITY AND G COLOR.
Fashion Jewelry
Unisex Fancy Stylish Sterling Silver Tiffany Ring
Unisex Fancy Stylish Sterling Silver Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. Title " The Codomas" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Unique Style 10 kt Yellow Gold 7" Diamond Bracelet
Lady's Very Unique Style 10 kt Yellow Gold 7" Diamond Bracelet, compromised of 4 prongs set 252 round diamonds, Diamonds approx 5.00cts, Clarity SI2 I1, color H & I. Approx total weight 12.1 gms.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
Original Signed Lithograph by Artist AE Housman
lithograph in the manner of AE Housman, bearing the signature, comes with ceritificate of authenticity, framing available at an additonal charge.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "TROIS CITRONS" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le Cirque VIII- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque VIII". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Signed Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne bearing the signature, titled "Melting Snow at Fontainbleau". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - MIss Paris
Signed bronze and ivory art deco sculpture "MIss Paris" by artist Chiparus, base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base.
General - Prints/Reproductions
Limited Edition Picasso - Woman With Pigeons - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Woman With Pigeons". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Bertram dal Bornio". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE BOBCAT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "FAMILY OF SNOW GEESE TRAVELLING SOUTH" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Mardi Gras- Paul Cezane - Limited Edition On Canvas
Paul Cezanne Limited Edition on canvas, "Mardi Gras". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "PETITE LISEUSE", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14 Kt Golden Citrine Ring
Citrine approx 2.5 ct, Diamonds approx .40 VS1, G in color.(100DD)
Fine Jewelry
#129 - Fancy Ladys Columbian Emerald Ring
Fancy Ladys Columbian Emerald Ring. VS1 Color G Diamonds, approx 1ct Emerald. Heavy
Fine Jewelry
Unisex Fancy 14kt White Gold Spinel, Ruby & Diamond Ring
Unisex Fancy 14kt White Gold Spinel, Ruby & Diamond Ring, Spinel approx 10ct, Ruby approx 30 pts & Diamonds approx 30 pts VS1, Color G.(49LK)
Fashion Jewelry
Lady's Fancy 14kt White Gold Multi Color (Ruby, White & Pink Sapphire & Peridot) Ring
Lady's Fancy 14kt White Gold Multi Color (Ruby, White & Pink Sapphire & Peridot) Ring, approx 12 ct.
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - The large Grey Circus
Marc Chagall Signed Limited Edition, "The large Grey Circus". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Fish", comes with certificate of authenticity, framing available at an additional cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"Two Fishes" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Pieces Of Bread
Salvador Dali signed limited edition, "The Pieces Of Bread". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "THE MELODY HAUNTS MY REVERIE" EDITION IS 31 OF 95 COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Lady's 14 kt White Gold Ruby/Diamond Bracelet
Lady's 14 kt White Gold Ruby/Diamond Bracelet, Ruby approx 8 cts & Diamonds approx weight 4 cts, SI1 SI2 I1, color H I.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PORTO SANTO STEFANO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Ladies Fancy Aquamarine Ring
Ladies fancy aquamarine ring set in fine sterling silver. Aquamarine is approximately 4 CT.
Fashion Jewelry
FANCY LADIES TANZANITE AND DIAMOND RING
FANCY LADIES TANZANITE AND DIAMOND RING, TANZANITE IS APPROXIMATELY 3.00CT AND DIAMONDS ARE APPROXIMATELY 0.10CT VS1 CLARITY COLOR G.
Fashion Jewelry
Unisex Fancy Sterling Silver "9.25 T&CO" Design Tiffany Ring
Unisex Fancy Sterling Silver "9.25 T&CO" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#35Ladys Fancy Marquis Diamond Ring
Ladys Fancy Marquis Diamond Ring. Approx .5ct Diamond VVS1 Color G
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
J. Thompson - Grasslands - Handsigned Lithograph
Handsigned and numbered J. Thompson lithograph, "Grasslands". Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dolly Sisters - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Dolly Sisters. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "TABLE DE TOILETTE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Le Cirque- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Le Cirque". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Self Portrait". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Ecstacy
Signed bronze and ivory art deco sculpture "Ecstacy" by artist Chiparus, base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base.
General - Prints/Reproductions
Limited Edition Picasso - Seated Woman - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Seated Woman". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Women's Fancy Pink Sapphire and White Tourmaline Bracelet
Womens fancy pink sapphire and white tourmaline bracelett set in fine silver, pink sapphire is approximately 7.5CT and white tourmaline is approximately 3CT
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE BLACK DUCK" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "BLUEWINGS ON THEIR WAY" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Still Life with Apples- Paul Cezane - Limited Edition On Canvas
Paul Cezanne Limited Edition on canvas, "Still Life with Apples". Comes with COA. Approx. size: 20"x24". HC-0046
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LA CAPELINE EN PAILLE D'ITALIE", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Beautiful 14 Kt Diamond & Amethyst
Amethyst approx 3 ct, Diamonds approx 40 points VS1, G in color.(101DD)
Fine Jewelry
#131 - Fancy Ladys Columbian Emerald and Diamond Ring.
Fancy Ladys Columbian Emerald and Diamond Ring. 14K Yellow Gold. Approx 1.5ct Emerald. Diamonds approx .25 VS1 Color G. Heavy
Fashion Jewelry
Unisex Fancy 14kt White Gold Marquise Shape Ruby Ring
Unisex Fancy 14kt White Gold Marquise Shape Ruby Ring, Ruby approx 12 ct. (50LK)
General - Prints/Reproductions
"Au Clair de la Lune Blue" by Georges Le Pape
Georges Lepape: Studied at the Ecole des Arts Décoratifs, Paris, and the ateliers of Humbert and Cormon. In 1911 illustrated Les Choses de Paul Poiret and the following year programmes for the Ballet Russe . Innumerable magazines covers and fashion plates for La Gazette du Bon Ton and Vogue. In 1911, Poiret again published a brochure of his designs, this time created by another young artist, Georges Lepape, who had been trained in the atelier run by Fernand Cormon, where Toulouse-Lautrec, Van Gogh, Sérusier, Matisse, and Picabia had all studied. Les Choses de Paul Poiret, vues par Georges Lepape appeared in a larger edition: one thousand copies were printed (Paris: 1911). Lepape, too, had absorbed the lessons of bright color taught by the Ballet Russes, and his pochoir prints of Poiret's still high-waisted fashions in this brochure and later in the Gazette du Bon Ton used line drawings with large areas of blues, greens, reds, pinks, and yellows. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 31in x 27in. CC-2H
General - Prints/Reproductions
Pierre Renoir Limited Edition - TWO SISTERS
Pierre Renoir Limited Edition, "TWO SISTERS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Drawing Hands", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"Personages, Birds and Star" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Transparent Simulacrim
Salvador Dali signed limited edition, "The Transparent Simulacrim". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "IRISES" EDITION IS 26 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
Fine Jewelry
Men's 14 kt White Gold Diamond Ring
Men's 14 kt White Gold Diamond Ring, Diamond weight 2 cts, SI1 SI2 I1, color H I.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW OF SAN GIORGIO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Orange Sapphire Ring in 10K Yellow Gold
Special Buy - 2.50 ctw Diamond & Created Orange Sapphire Ring in 10K Yellow Gold
Fine Jewelry
Created Blue Sapphire Heart 10K Gold Necklace and Earring Set
Created Blue Sapphire Heart 10K Gold Necklace and Earring Set
Fine Jewelry
Women's Elegant Morganite Ring
Women's elegant morganite ring set in fine sterling silver. Morganite is approximately 5 CT, ring is beautiful and will be a great addition to any collection
Fashion Jewelry
STUNNING LADIES TANZANITE AND DIAMOND RING
FANCY LADIES TANZANITE AND DIAMOND RING, TANZANITE IS APPROXIMATELY 1.50CT AND DIAMONDS ARE APPROXIMATELY 1.00CT VS1 CLARITY COLOR I.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. Title "The Cowboy" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Cross Shape 10 kt Yellow Gold Cross Pendant.
Lady's Fancy Cross Shape 10 kt Yellow Gold Cross Pendant, compromised of channel set CZ stones. Approx Total weight 10.20 gms.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Signed Michele Delawise Lithograph - The City
Signed Michele Delawise lithograph, "The City", comes framed with a COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Everlasting Love - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Everlasting Love. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 27"x20.5"x7".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "LA CUVETTE BLEUE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Night Bouquet- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Night Bouqet". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Landscape in Northern Paris". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Testris
Signed bronze and ivory art deco sculpture "Testris" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 20"x6"x8"
General - Prints/Reproductions
Limited Edition Picasso - Jacqueline With Crossed Hands - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Jacqueline With Crossed Hands". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE JACK RABBIT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Salvador Dali Limited Edition 24K Gold Layered Bronze RHINOCEROS Sculpture
This is a rare Salvador Dali sculpture entitled "Rhinoceros". It is cast in bronze and then layered with 24K gold. Etched signature and comes with foundry assay. Some variations in marble might occur. Approx. size: 5"x6"x4".
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "CANVASBACK MOVING TO FEED" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
View of Auvers from above- Paul Cezane - Limited Edition On Canvas
Paul Cezanne Limited Edition on canvas, "View of Auvers from above". Comes with COA. Approx. size: 20"x24". HC-0047
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE AU MAGNOLIA", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14 Kt Royal Blue Topaz & Diamond Ring
Topaz approx 1.5 ct, Diamonds approx .6 ct VS1, H in color.(115DD)
Fine Jewelry
#133 - Fancy Unisex Columbian Emerald 14K Gold Ring
Fancy Unisex Columbian Emerald 14K Gold Ring. Diamonds VS1 Color G. Heavy
Fashion Jewelry
Lady's Fancy 14 kt White Gold Pear Shape Royal Blue Topaz Ring
Lady's Fancy 14 kt White Gold Pear Shape Royal Blue Topaz Ring, Royal Blue Topaz approx 4 cts.
Fine Jewelry
Lady's Fancy 14kt White Gold Tanzanite & White Sapphire Ring
Lady's Fancy 14kt White Gold Tanzanite & White Sapphire Ring, Tanzanite approx 1.5 ct, White Sapphire approx 1.5. (30LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8ct, Diamonds approx 1 ct VS1-VS2, Color G.(51LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Peridot & Diamond Ring
Lady's Fancy 14kt White Gold Peridot & Diamond Ring, Peridot approx 14ct, Diamonds approx .25 ct VS1, Color G.
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - The Sources of Music
Marc Chagall Signed Limited Edition, "The Madonna in a Red Robe". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Three Spheres I", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"Bather" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Five Allegories Of Giovanni Bellini
Salvador Dali signed limited edition, "Five Allegories Of Giovanni Bellini". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHGRAPH
LITHOGRAPH IN THE MANNER OF UNKNOWN IN A LIMITED EDITION, EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Men's 14 kt White Gold Diamond Ring
Men's 14 kt White Gold Diamond Ring, Diamond weight 2.50 cts, SI1 SI2 I1, color H I.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "GRAND CANAL" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Genuine Diamond and Simulated Opal Necklace
10K Gold Genuine Diamond and Simulated Opal Necklace
Fashion Jewelry
FANCY LADIES DIAMOND ENGAGEMENT RING
FANCY LADIES DIAMOND ENGAGEMENT RING SET IN WHITE GOLD, CENTER DIAMOND IS APPROXIMATELY 1.37CT VS2 CLARITY AND I COLOR ROUND BRILLIANT CUT, 2 DIAMOND BAGQUETTE DIAMONDS ARE APPROXIMATELY 0.25CT.
Fashion Jewelry
Unisex Stylish Sterling Silver "Leafs" Design Tiffany Ring
Unisex Stylish Sterling Silver "Leafs" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold Diamond Ring
Lady's Fancy 14 kt Yellow Gold Diamond Ring, Diamonds approx 1.50 cts, clarity S1 S2, color H & I. Approx total weight 7.00 gms.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Diane and the Wolves - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Diane and the Wolves". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:20x25x9.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "LA PALETTE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
Still Life with Flowers- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Still Life With Flowers". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Roofs". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Mexican Hat Dancer - Bronze and Ivory Sculpture by C. Mirval
C. Mirval bronze and ivory sculpture, Mexican Hat Dancer. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x6".
General - Prints/Reproductions
Limited Edition Picasso - Still Life With Bulls Head - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Still Life With Bulls Head". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Fine Jewelry
Lady's Beautiful Sapphire White Gold Pendant
Lady's Sapphire White Gold Pendant, Sapphire approx 30 ct.(52DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Women's Fancy Ruby and Diamond Bracelet
Womens fancy ruby and diamond bracelet set in fine silver, ruby is approximately 5CT and white diamond is approximately 1CT VS1 clarity and I color
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE BIGHORN SHEEP" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Bruno Bruni Original Limited Edition 24K Gold Layered Bronze Sculpture
Bruno Bruni limited edition 24K gold layered bronze sculpture.
Art
Plate signed Pablo Picasso lithograph
Pablo Picasso lithograph. Plate signed.Approx. size:22X19.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "BLUEBILL PASS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Sailing Boats at Saint-Adresse - Raoul Dufy - Limited Edition On Canvas
Raoul Dufy Limited Edition on canvas, "Sailing Boats at Saint-Adresse".Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE, CULOTTE RAYEE, PROFIL REFLETE DANS LA GLACE", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Beautiful 14 Kt White Gold Almandine Garnet With Diamonds Ring
Almandine Garnet approx 2.5 ct, Diamonds approx 15 points VS1, I in color.(119DD)
Fine Jewelry
Unisex Fancy 14kt White Gold Aqua Marine & Diamond Ring
Unisex Fancy 14kt White Gold Aqua Marine & Diamond Ring, Aqua Marine approx 8.5ct, Diamonds approx .50ct VS1, Color G.(52LK)
Fashion Jewelry
Lady's Fancy 14kt White Gold Heart Shape Lab-Ruby Ring
Lady's Fancy 14kt White Gold Heart Shape Lab-Ruby Ring, Ruby approx 5 ct, Diamonds approx 1.10 ct VS1, Color G.
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - The Madonna in a Red Robe
Marc Chagall Signed Limited Edition, " The Sources of Music". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Stars", comes with certificate of authenticity, framing available at an additional cost.
Art
Darton Double Signed Lithograph
Darton double signed lithograph. Beautifully framed . Approx. size: 28X28.
General - Prints/Reproductions
"Woman Walking Down The Street" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - From Tristan and Isolde
Salvador Dali signed limited edition, "From Tristan and Isolde". Comes with COA. Edition number may vary from pictured.
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LE PONT DES ARTS" EDITION 25 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Men's 14 kt White Gold Pigeon Blood Ruby/Diamond Ring
Men's 14 kt White Gold Pigeon Blood Ruby/Diamond Ring, Ruby approx 9 cts & Diamonds approx weight 1 cts, SI1 SI2 I1, color H I.
Art
Exquisite Original Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso, unframed, mint condition, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENETIAN PALACES" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Jewelry
FANCY AUTHENTIC TWO TONE DATE JUST ROLEX
FANCY AUTHENTIC TWO TONE DATE JUST OYSTER PERPETUAL ROLEX
Fashion Jewelry
Lady's Fancy Sterling Silver Stylish Design Tiffany Ring
Lady's Fancy Sterling Silver Stylish Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " Toreador II" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Art
Michael Schofield - "Autumn Clearing" - Limited Edition Giclee on Canvas
Michael Schofield limited editiongiclee on canvas, "Autumn Clearing". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Shimmer - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Shimmer. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:26"x10"x6.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "LE GUERIDON ROUGE" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
The Bay of Angels- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "Tha Bay of Angels". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Bridge in the Forest". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Dourga - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Dourga. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 24.5"x6".
General - Prints/Reproductions
Limited Edition Picasso - Le Dejeuner sur l'Herbe - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Le Dejeuner sur l'Herbe". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "In the Heaven of Mercury". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Fancy 14 Kt Amethyst Diamond Ring
Amethyst approx 6 ct, Diamonds approx 33 points VS1, G in color.(61DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE CANADA GOOSE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Matisse Still Life Lithograph
Beautifully framed and comes with COA. Approx. size: 22X19.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "HERE AM I! WHERE ARE YOU?" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Unknown". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TETE DE JEUNE FILL E AU COL ORGANDI", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Beautiful HEART Shape 14 Kt White Gold Citrine Ring
Citrine approx 3.5 ct.(125DD)
Fine Jewelry
#135 - Fancy Ladys 14K Columbian Emerald Ring
Fancy Ladys 14K Columbian Emerald ring. Approx 1ct Emerald. Approx .25ct Diamond VVS1 Color G. Heavy
Fine Jewelry
Lady's Fancy 14kt White Gold Aqua Marine & Diamond Ring
Lady's Fancy 14kt White Gold Aqua Marine & Diamond Ring, Aqua Marine approx 16ct, Diamonds approx .25ct VS1, Color G.(53LK)
Fine Jewelry
Lady's Fancy 14kt White Gold White Sapphire & Dimaond Ring
Lady's Fancy 14kt White Gold White Sapphire & Dimaond Ring, White Sapphire approx 3ct, Diamonds approx 1ct.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Klimt Limited Edition - Malcesine on Lake Garda
Klimt limited edition, "Malcesine on Lake Garda". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Waterfall", comes with certificate of authenticity, framing available at an additional cost.
Art
Unknown floral lithograph
Beautifully framed lithograph. Approx. size: 25X28.
General - Prints/Reproductions
"Swallow Love" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Study for Sentimental Colloquy
Salvador Dali signed limited edition, "Study for Sentimental Colloquy". Comes with COA. Edition number may vary from pictured.
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "THE GUST OF WIND" EDITION 25 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Men's 14 kt White Gold Diamond Ring
Men's 14 kt White Gold Diamond Ring, Diamonds weight 2 cts, SI1 SI2 I1, color H I.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENETIAN PALACES" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Citrine & Diamond 10K Gold Ring
2 ctw. Citrine & Diamond 10K Gold Ring
Fine Jewelry
Genuine Aquamarine Heart 10K Gold Necklace
Genuine Aquamarine Heart 10K Gold Necklace
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Ladies Fancy Rose Morganite and White Diamond Ring
Ladies fancy rose colored morganite and white diamond ring set in fine sterling silver, rose color morganite is approximately 5CT and white diamond VS1 Clarity and G color is approximately .50 CT
Fashion Jewelry
FANCY LADIES DIAMOND BRACELET
FANCY LADIES DIAMOND BRACELET, DIAMONDS ARE APPROXIMATELY 1.50CT CLARITY IS VS1 AND COLOR IS G.
Fashion Jewelry
Unisex Fancy Sterling Silver "Hearts Band" Design Tiffany Ring
Unisex Fancy Sterling Silver "Hearts Band" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Toredor I" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
RARE ORIGINAL SIGNED LITHOGRAPH BY ARTIST GEORGES BRAQUE
LITHOGRAPH IN THE MANNER OF GEORGES BRAQUE BEARING THE SIGNATURE, , MINT CONDITION, VERY RARE PIECE TITLED "RAISIN" CIRCA 1942. GEORGES BRAQUE (1883-1963) Georges Braque was at the forefront of the revolutionary art movement of Cubism. Braque's work throughout his life focused on still life’s and means of viewing objects from various perspectives through color, line, and texture. While his collaboration with Pablo Picasso and their Cubist works are best known, Braque had a long painting career that continued beyond Cubism. Braque was also often dedicated to quiet periods in his studio rather than to being a personality in the art world.
General - Old Masters
The Birthday- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "The Birthday". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "The Bay of Marseilles". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Friends Forever - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Friends Forever. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:24"x24"x5".
General - Prints/Reproductions
Limited Edition Picasso - The Abduction Of The Sabine Women - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Abduction Of The Sabine Women". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Song of the Wise Spirits". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Fancy Antique Plt Sapphire & Diamond Ring
Sapphire approx 3.50 ct, Diamonds approx .75 ct VS2, G in color.(63DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE TIMBER WOLF" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Matisse Still Life Lithograph
Beautifully framed and comes with COA. Approx. size: 19X22.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "STUBBLE MALLARDS NEAR JACKSON CHURCH" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Lavender Lady-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Lavender Lady". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE ACCOUDEE DEVANT PARAVENT FLEURI", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14 Kt White Gold Ruby & Diamond Ring
Ruby approx 2 ct, Diamonds approx .25 ct VS1, G in color.(126DD)
Fine Jewelry
#136 - Fancy Ladys 14K Columbian Emerald Ring
Fancy Ladys 14K Columbian Emerald ring. Approx 1.5ct Emerald. Approx .25ct Diamond VVS1 Color G. Heavy
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
Unisex Fancy 14kt White Gold Oval Shape Pigeon Blood Ruby Ring, Very Pretty!!
Unisex Fancy 14kt White Gold Oval Shape Pigeon Blood Ruby Ring, Very Pretty!! Pigeon Blood Ruby approx 22ct.(54LK)
Fashion Jewelry
Lady's Fancy 14kt White Gold Tri-Color (Aqua Marine, Peridot & Pink Sapphire) Ring
Lady's Fancy 14kt White Gold Tri-Color (Aqua Marine, Peridot & Pink Sapphire) Ring, apporox 4.5 ct.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - JULIET'S TOMB
Salvador Dali signed limited edition, "JULIET'S TOMB". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Double Planetoid", comes with certificate of authenticity, framing available at an additional cost.
Art
"Blue Vase" - Alexander&Wissotzky- Serigraph
Alexander & Woissotzky handsigned and numbered limited edition serigraph, "Blue Vase". Beautifully framed. Approx. size: 22X21.
General - Prints/Reproductions
"The First Spark of the Dog" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Rocks
Salvador Dali signed limited edition, "Rocks". Comes with COA. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION, EDITION IS 24 OF 95 COMES WITH CERITIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
Men's 14 kt White Gold Blue Sapphire/Diamond Ring
Men's 14 kt White Gold Blue Sapphire/Diamond Ring, Sapphire approx 3 cts, Diamonds weight 1 cts, SI1 SI2 I1, color H I.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CANALE D'INVERNO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lab Pink Sapphire & Diamond 10K Gold Ring
2 ctw. Lab Pink Sapphire & Diamond 10K Gold Ring
Fine Jewelry
Created Orange Sapphire Heart 10K Gold Necklace
Created Orange Sapphire Heart 10K Gold Necklace
Fine Jewelry
Women's Elegant Morganite Ring
Women's elegant morganite ring set in fine sterling silver. Morganite is approximately 5 CT
Fashion Jewelry
STUNNING UNISEX DIAMOND RING
STUNNING UNISEX DIAMOND RING, DIAMONDS ARE APPROXIMATELY 2.00CT CLARITY IS VS2 COLOR IS I
Fashion Jewelry
Lady's Stylish Unique Sterling Silver "Heart" Design Tiffany Ring
Lady's Stylish Unique Sterling Silver "Heart" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Disappearing Bust Of Voltaire" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Art
Jane Maday Lithograph - Chocolate Dreams
Jane Maday lithograph, "Chocolate Dreams". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Finale - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Finale. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Female Acrobat II- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "TheFemale Acrobat II". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "L'estaque and the Bay of Marseilles". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Chorus Line - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture. This piece was inspired by the famous chorus lines of les annees folles. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x24"x6".
General - Prints/Reproductions
Limited Edition Picasso - Jacqueline Seated with Her Black Cat - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Jacqueline Seated with Her Black Cat". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Dust of Souls". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful Antique Style Plt Amethyst Diamond Ring
Amethyst approx 5 ct, Diamonds approx 1.0 ct VS2, G in color.(66DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Womens Stunning Ruby and Diamond Ring
Womens stunning ruby and diamond ring, ruby is approximately .75CT and white diamonds are approximately 2CT I1 clarity and silver acape color
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE CARIBOU" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Plate signed Pablo Picasso lithograph
Pablo Picasso lithograph, "Painter In His Studio". Plate signed. Approx. size: 19X24.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "CANVASBACK OVER DUKE OF YORK PASS" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Cockatoo-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Cockatoo". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, TITLED "FIGURE ASSISE, BOUQUET DE FLEURS DEVANT LA MER", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#137 - Fancy Unisex Columbian Emerald Ring
Fancy Unisex Columbian Emerald Ring. Approx .5ct Emerald. Diamonds on the side approx 10pts, VVs1 Color I. Heavy
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8.50 ct, Diamonds approx .50ct VS1, Color G.(55LK)
General - Prints/Reproductions
"Mardi Gras" by Cezanne
Paul Cézanne (19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed. Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 28iin x 32in. CC-2H
Fine Jewelry
Lady's Fancy 14kt White Gold Peridot & Diamond Ring
Lady's Fancy 14kt White Gold Peridot & Diamond Ring, Peridot approx 2ct, Diamonds approx 1.25 ct VS1, Color I.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Fluid Premonition
Salvador Dali signed limited edition, "Fluid Premonition". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Dream", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"The Nightengales Song" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Simoniacs
Salvador Dali signed limited edition, "The Simoniacs". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL SIGNED LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "COUPLE RIDING" EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSONS ARE APPROXIMATELY 18X20.
Fine Jewelry
UNISEX AQUAMARINE & DIAMOND RING HEAVY MOUNT
UNISEX AQUAMARINE & DIAMOND RING, HEAVY MOUNT, AQUAMARINE IS APPROXIMATELY 3.00CT AND DIAMOND IS APPROXIMATELY 1.00CT VS1 CLARITY AND G COLOR.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "GONDOLE A SAN MARCO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Citrine Ring in 10K Gold
1.50 ctw Diamond & Citrine Ring in 10K Gold
Fine Jewelry
Trillion Amethyst 10K Yellow Gold Necklace
Trillion Amethyst 10K Yellow Gold Necklace
Fine Jewelry
Ladies Fancy Golden Citrine Sapphire and White Topaz Ring
Ladies fancy golden citrine sapphire and white topaz ring set in fine sterling silver. Golden citrine sapphire is approximately 1 CT and white topaz is approximately 1CT. Lovely piece to call your own
Fashion Jewelry
FANCY LADIES DIAMOND BRACELET
FANCY LADIES DIAMOND BRACELET, DIAMONDS ARE APPROXIMATELY 1.75CT CLARITY IS VS1 AND COLOR IS G.
Fashion Jewelry
Unisex Beautiful Sterling Silver "Band" Tiffany Ring
Unisex Beautiful Sterling Silver "Band" Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#54 - Fancy Unisex Diamond Ring
Fancy Unisex Diamond Ring. VVS1 Diamond approx .75ct.
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. " Self Portrait Studio Arttire" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Beautiful 14 kt White Gold Diamond Ring
Lady's Beautiful 14 kt White Gold Diamond Ring. Diamonds approx 1.10 cts, S1 S2, color H & I. Approx total weight 4.40 gms.
Art
Jane Maday Lithograph - I Didn't Do It
Jane Maday lithograph, "I Didn't Do It". Beautifully framed and comes with COA. Approx. size:
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
La Bayadere- Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "La Bayadere". Bayadere, from the Portuguese word for dancer, bailaderia, was used in the late 20's to describe Indian dancers and. by extension, dancers in general. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 24.5"x6".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The female acrobat- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "TheFemale Acrobat". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Railway near L'estaque". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Miro - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Miro. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x5"x10".
General - Prints/Reproductions
Limited Edition Picasso - Man With A Pipe - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Man With A Pipe". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Apparition of Dante's Great-Great-Grandfather". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Fancy Emerald and Diamond Ring
Ladies fancy emerald and diamond ring set in 10K yellow gold, emerald is approximately .50CT and diamonds are approximately 2.00CT I1 clarity and silver acape color.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE COYOTE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "REDHEAD PASS, LONG ISLAND BAY" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Little Spider-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Little Spider". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE A LA JUPE TULLE", CIRCA 1924. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14kt White Gold Amethyst & Diamond Ring, Amethyst approx 8ct, Diamonds approx .25ct VS1, Color G.(57LK)
Fine Jewelry
Fancy Style 14kt White Gold Pink Spinel & Diamond Earrings
Fancy Style 14kt White Gold Pink Spinel & Diamond Earrings, Pink Spinel approx 12ct, Diamonds approx .50ct VS1, Color G.(132LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Woman Imitating a Schooner
Salvador Dali signed limited edition, "Woman Imitating a Schooner". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Concentric Space", comes with certificate of authenticity, framing available at an additional cost.
Art
Chirstmas in Santa Fe - Amado Maurilio Pena
Chirstmas in Santa Fe - Amado Maurilio Pena. Approx. size: 23X29.
General - Prints/Reproductions
"Ladders Cross the Blue Sky" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Giant Flying Mocca Cup
Salvador Dali signed limited edition, "Giant Flying Mocca Cup". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
UNISEX AQUAMARINE & DIAMOND RING HEAVY MOUNT
UNISEX AQUAMARINE & DIAMOND RING, HEAVY MOUNT, AQUAMARINE IS APPROXIMATELY 3.50CT AND DIAMOND IS APPROXIMATELY 1.00CT VS1 CLARITY AND G COLOR.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "WINTER CANAL" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Garnet Ring in 10K Gold
1.50 ctw Diamond & Garnet Ring in 10K Gold
Fine Jewelry
Gold Genuine Peridot Cross Pendant and Chain Necklace
10K Gold Genuine Peridot Cross Pendant and Chain Necklace
Fine Jewelry
Women's Fancy Peridot and White Diamond Ring
Women's fancy Peridot and white diamond ring set in fine sterling silver. Peridot is approximately 6CT and White diamonds are approximately VS1 clarity and G color .50 CT
Fashion Jewelry
STUNNING UNISEX DIAMOND RING
STUNNING UNISEX DIAMOND RING, DIAMONDS ARE APPROXIMATELY 1.75CT CLARITY IS VS2 COLOR IS I
Fashion Jewelry
Lady's Fancy Sterling Silver "Hears" Design Tiffany Diamond Ring
Lady's Fancy Sterling Silver "Hears" Design Tiffany Diamond Ring, Diamonds approx .25 VS1, color G.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " Soy Y Dalie" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Flame Leaper - Bronze and Ivory Sculpture by Preiss
Preiss broze and ivory sculpture, Flame Leaper. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 17"x21".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Jugglar- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "The Jugglar". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Avenue of Chestnuts at the Jas De Bouffan in Winter". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Cleopatra - Bronze and Ivory Sculpture by Chiparus.
Chiparus broze and ivory sculpture, Cleopatra . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx. size: 15x8x4.
General - Prints/Reproductions
Limited Edition Picasso - Maternity - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Maternity". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Original Perfection". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Fancy 14 Kt Garnet & Diamond Ring
Garnet approx 3 ct, Diamonds approx 20 points VS1, G in color.(76DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MOUNTAIN GOAT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Currier Lithograph - The Parlay
Currier Lithograph - The Parlay . Approx. size: 17X24.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "MID-OCTOBER PASSAGE" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Le Chapeau-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Le Chapeau". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE DEBOUT ET PLATEAU DE FRUITS", CIRCA 1924. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Walking Liberty .50 cents piece.
Walking Liberty .50 cents piece.(170DD)
Fine Jewelry
#152 - Ladys Emerald Earrings
2ct Emerald Earrings. 10ct Gold
Fashion Jewelry
Lady's Fancy 14 kt White Gold Pink Sapphire & Diamond Ring
Lady's Fancy 14 kt White Gold Pink Sapphire & Diamond Ring, Pink Sapphire approx 3.5ct, Diamonds approx .50 cts, VS1 color G.
Fashion Jewelry
Unisex Fancy 14kt White Gold Oval Ruby Ring
Unisex Fancy 14kt White Gold Oval Ruby Ring, Ruby approx 8ct.(58LK)
Fine Jewelry
Fancy Style 14kt White Gold Amethyst & Diamond Earrings
Fancy Style 14kt White Gold Amethyst & Diamond Earrings, Amethyst approx 6ct, Diamonds approx 1ct VS1-2, Color J.(136LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Critical Solitude
Salvador Dali signed limited edition, "Critical Solitude". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Original Works
Original Signed Lithograph by Artist M.C. Escher
Lithograph in the manner of M.C. Escher bearing the signature, titled "Dragon", comes with certificate of authenticity, framing available at an additional cost.
General - Prints/Reproductions
"Landscape" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Backdrop of Tristan
Salvador Dali signed limited edition, "Backdrop of Tristan". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
RARE HEART VIOLET SAPPHIRE & DIAMOND RING
RARE HEART VIOLET SAPPHIRE AND DIAMOND RING, VIOLET SAPPHIRE IS APPROXIMATELY 5.00CT AND DIAMOND IS APPROXIMATELY 0.75CT VS1 CLARITY AND G COLOR.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENETIAN TENEMENTS" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Large Created Pink Sapphire & Diamond Ring in 10K White Gold
Large Created Pink Sapphire & Diamond Ring in 10K White Gold
Fine Jewelry
Yellow Gold Created Ruby Necklace
10K Yellow Gold Created Ruby Necklace
Fashion Jewelry
FANCY LADIES DIAMOND BRACELET
FANCY LADIES DIAMOND BRACELET, DIAMONDS ARE APPROXIMATELY 2CT CLARITY IS VS1 AND COLOR IS G.
Fashion Jewelry
Lady's Stylish Sterling Silver " O " Design Tiffany Ring
Lady's Stylish Sterling Silver " O " Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Two Figures and Root" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Lady's Fancy 10 kt Yellow Gold 7" Diamond Bracelet
Lady's Fancy 10 kt Yellow Gold 7" Diamond Bracelet, Diamonds approx 2.00 cts, SI2 I1, color I & J. Approx total weight 9.50 gms.
Art
Michael Schofield Limited Edition Giclee on Canvas- Newhall
Schofield limited edition giclee on canvas, "Newhall". Beautifully framed and comes with COA. Approx. size:
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The pinch of snuff- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "The Pinch of Snuff". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "View of the Arc Valley". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Monica - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Monica. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 24x13x7.
General - Prints/Reproductions
Limited Edition Picasso - Man In A Straw Hat With An Ice Cream Cone - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Man In A Straw Hat With An Ice Cream Cone". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Cacciaguida's History Lesson". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful White & Blue Sapphire Ring
Lady's White & Blue Sapphire Fancy Ring, Blue Sapphire approx 5 ct, White Sapphire approx 4 ct. (8DD)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Fancy Emerald and Diamond Ring
Ladies fancy emerald and diamond ring set in 10K yellow gold, emerald is approximately .60CT and diamonds are approximately 2.00CT I1 clarity and silver acape color.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE RINGNECK PHEASANT" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "DEPARTING FOR LONG POINT - OLD CANVASBACK DRAKES" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Masquerade -Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Masquerade". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU AU COUSSIN BLEU", CIRCA 1924. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Walking Liberty .50 cents piece.
Walking Liberty .50 cents piece.(180DD)
Fine Jewelry
#153 - Ladys Diamond Earrings
14K Yellow Gold Diamond Earrings Si1Si2 Color G
Fashion Jewelry
Lady's Fancy 14kt White Gold Pear Shape Golden Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Pear Shape Golden Sapphire & Diamond Ring, Golden Sapphire approx 8.5 ct, Diamonds approx 1 ct VS1, Color G.(59LK)
Fine Jewelry
Lady's Fancy 14kt White Gold Diamond Double Sided Heart Shape Pendant with Necklace
Lady's Fancy 14kt White Gold Diamond Double Sided Heart Shape Pendant with Necklace, White Diamonds approx 3ct VS1, Color G. Black Diamonds 1ct.(75LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Atmospheric Skull
Salvador Dali signed limited edition, "Atmospheric Skull". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Did You See It?" -Schring- Offset Lithograph
Schring offset lithograph, "Did You See It?". Beautifully framed . Approx. size: 25X31.
General - Prints/Reproductions
"Ciphers & Constellation" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Condoltiere
Salvador Dali signed limited edition, "Condoltiere". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY , BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
RARE HEART VIOLET SAPPHIRE & DIAMOND RING
RARE HEART VIOLET SAPPHIRE AND DIAMOND RING, VIOLET SAPPHIRE IS APPROXIMATELY 4.00CT AND DIAMOND IS APPROXIMATELY 0.75CT VS1 CLARITY AND G COLOR.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RIO BELVEDERE" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Ruby 10K Gold Ring
ctw. Diamond & Created Ruby 10K Gold Ring
Fine Jewelry
Gold Genuine Citrine Heart Pendant and Chain Necklace
10K Gold Genuine Citrine Heart Pendant and Chain Necklace
Fashion Jewelry
STUNNING UNISEX DIAMOND RING
STUNNING UNISEX DIAMOND RING, DIAMONDS ARE APPROXIMATELY 1.25CT CLARITY IS VS2 COLOR IS I
Fashion Jewelry
Unisex Beautiful Stylish Sterling Silver Tiffany Ring
Unisex Beautiful Stylish Sterling Silver Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Large Figure" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Cosmic Athlete" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy Designn 14 kt White Gold Rose Garnet & Diamond Ring
Lady's Very Fancy Designn 14 kt White Gold Rose Garnet & Diamond Ring, Garnet approx 4cts, Diamonds approx 1.25 cts, VS1, color I.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Bela Bodo Lithograph - Paris 1895
Bela Bodo lithograph, "Paris, 1895". Comes framed and with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Red House- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "The Red House". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Still Life with Blue Vase". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Almeria - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Almeria. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 29"x10.5"x4.5".
General - Prints/Reproductions
Limited Edition Picasso - Bust Of A Woman In A Striped Hat - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Bust Of A Woman In A Striped Hat". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Two Circles of Spirits". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE MOUNTAIN LION" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
"Bathers" - Gaujuin - Signed Lithograph
Gaujin signed lithograph, "Bathers". Beautifully framed and comes with COA. Approx. size: 25X21.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "A PAIR OF MALLARDS FOR NEARLY EVERY FARM SLOUGH" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Number7-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Number 7". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED FIGURE DANS UN INTERIEUR"", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#154 - Ladys Diamond Earrings
14K Yellow Gold Diamond Earrings Si1 Color G
Fashion Jewelry
Unisex Fancy 14kt White Gold Oval Shape Sapphire Ring
Unisex Fancy 14kt White Gold Oval Shape Sapphire Ring, Sapphire approx 12.5ct.(60LK)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Suez
Salvador Dali signed limited edition, "Suez". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Banana Palm" by Ehret
Beautifully framed lithograph. . Approx. size: 31X25.
General - Prints/Reproductions
"The Gentleman" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -
Salvador Dali signed limited edition, "". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "THE AGONY OF LOVE" EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
LADIES SAPPHIRE & DIAMOND RING
LADIES SAPPHIRE AND DIAMOND RING, SAPPHIRE IS APPROXIMATELY 1.50CT AND DIAMOND IS APPROXIMATELY 2.00CT VS1 CLARITY AND G COLOR
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Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CANAL GRANDE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Emerald 10K Gold Ring
1 ctw. Diamond & Created Emerald 10K Gold Ring
Fine Jewelry
Created Ruby 10K Gold Necklace
Created Ruby 10K Gold Necklace
Fine Jewelry
Fancy 14K Cognac Pearl Earrings
Fancy 14K pair of gold, Cognac pearl earrings approximately 8-10 MM
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX DIAMOND RING, DIAMOND IS APPROXIMATELY 2.50CT, CLARITY: VS1 I1 COLOR: SILVER CAPE.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Seated Figure" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " Blue Horns" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Jewelry & Watches
Unisex Antique Style 14 kt Yellow Gold Ruby & Diamond Ring
Unisex Antique Style 14 kt Yellow Gold Ruby & Diamond Ring, Ruby approx 3 cts, Diamonds approx 1.5 cts, VS1, color G.
Art
Winslow Homer Plate Signed Limited Edition
Winslow Homer plate signed Limited Edition. Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Harlequine Lamp - Bronze and Ivory Sculpture by Andre Bouraine
Andre Bouraine bronze and ivory sculpture, Harlequine Lamp. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22.5"x17"x5".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The White Window- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition on canvas, "The White Window". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of Madame Cezanne". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Actress - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Actress. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x6".
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Cacciaguida Sees Dante's Exile in God". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful 14k White Gold Diamond "HEART" shaped Necklace
Lady's Beautiful 14k White Gold Diamond "HEART" shaped Necklace, Diamonds approx 1.25 ct, VS2, G in color.(53DN)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE RACCOON" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Medium - Sculptures
Limited Edition 24K Gold Layered Bronze Eagle Sculpture by De Lier- Survival
This is a limited edition bronze and then layered with 24K gold. By De Lier called, "Survival". De Lier was born in Miami in 1963 . As a native Floridian, he had become fascinated with sea life early on. He has observed the underwater world in the Caribbean Sea, Gulf of Mexico, Atlantic Ocean, and the South China Sea. De Lier specializes in animal and sea life. He has chosen bronze sculpture to expresses his talents. De Lier has mastered bronze sculpture for over 18 years and has assisted many prominent artists with design and casting techniques. De Lier’s dream is to someday build the largest sea life bronze sculpture in the world. The sculpture is approx. 12"x9"x10". It comes with the foundry assay.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
"Portrait Of A Woman" - Cezanne - Lithograph
Cezanne lithograph, "Portrait of a Woman". Beautifully framed and comes with COA. Approx. size: 25X20.
General - Original Works
BEAUTIFUL SIGNED ORIGINAL LITHOGRAPH BY ARTIST H. ALBERT HOCHBAUM
LITHOGRAPH IN THE MANNER OF H. ALBERT HOCHBAUM BEARING THE SIGNATURE, TITLED "THE PARTRIDGE WILLOW" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Le Pais Amis-Icart - Limited Edition on Canvas
Louis Icart Limited Edition on canvas, "Le Pais Amis -1". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LA CULOTTE BAYADERE", CIRCA 1923. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
#170 - 14K Gold Bruncle Buster Frederic Remington
14K Gold Bruncle Buster Frederic Remington
Fashion Jewelry
Lady's Fancy 14kt White Gold Oval Shape Pink Sapphire & Diamond Ring
Lady's Fancy 14kt White Gold Oval Shape Pink Sapphire & Diamond Ring , Pink Sapphire approx 2cts, Diamonds approx .20 cts VS1, Color G.
General - Prints/Reproductions
"In Blue" by Kandinsky
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 28iin x 32in. CC-2H
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -The Apotheosis of Homer
Salvador Dali signed limited edition, "The Apotheosis of Homer ". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Coconut Palm" by Ehret
Beautifully framed lithograph. . Approx. size: 31X25.
General - Prints/Reproductions
"Painting, Cat. 30" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Poetry Of America
Salvador Dali signed limited edition, "Poetry Of America". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "SMALL WORLD III" EDITION IS 22 OF 95, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
LADIES SAPPHIRE & DIAMOND RING
LADIES SAPPHIRE AND DIAMOND RING, SAPPHIRE IS APPROXIMATELY 1.75CT AND DIAMOND IS APPROXIMATELY 2.00CT VS1 CLARITY AND G COLOR
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FERMATA RIALTO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Created Emerald 10K White Gold Ring
1 ctw. Diamond & Created Emerald 10K White Gold Ring
Fine Jewelry
Gold Created Pink Sapphire Necklace
10K Gold Created Pink Sapphire Necklace
Fine Jewelry
Ladies Fancy Brown Morganite and White Diamond Ring
Ladies fancy brown morganite and white diamond ring set in fine sterling silver. Brown morganite is approximately 3.25 CT and white diamonds are approximately VS1 clarity G color and .50 CT
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX BLACK AND WHITE DIAMOND BAGQUETTE RING, DIAMONDS APPROXIMATE IS 3.20CT CLARITY IS VS1 AND COLOR IS G
Fashion Jewelry
Lady's Unique Style Sterling Silver "Raddle Snake Tail" Design Tiffany Ring
Lady's Unique Style Sterling Silver "Raddle Snake Tail" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper."Cosmic Rays" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Jewelry & Watches
Unisex Antique Style 14 kt Yellow Gold Blueish Green Emerald & Diamond Ring
Unisex Antique Style 14 kt Yellow Gold Blueish Green Emerald & Diamond Ring, Emerald approx 3 cts, Diamonds approx 2 cts, VS1, color G.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Pablo Esteban Lithograph -Asian Floral Abstract II
Pablo Esteban lithograph, "Asian Floral Abstract II". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Jesters - Bronze and Ivory Sculpture by Peyre
Peyre bronze and ivory sculpture, Jesters. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x21.5".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Christian Knight- Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Christian Knight". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Mont Sainte Victorie Seen From Bellevue". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Les Girls - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Les Girls". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x24"x6".
General - Prints/Reproductions
Limited Edition Picasso - Flower - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Flower". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Beatrice Comforts The Poet". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST FRANCIS LEE JAQUES
LITHOGRAPH IN THE MANNER OF FRANCIS LEE JAQUES BEARING THE SIGNATURE, TITLED "THE WHITE-TAIL DEER" COMES WITH CERTIFICATE OF AUTHENTICITY, FRAMING AVAILABLE AT AN ADDITIONAL COST.
Art
Plate signed Pablo Picasso lithograph
Pablo Picasso lithograph. Plate signed. Approx. size:20X26.
Art
Bather - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Bather". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE A LA CULOTTE DE SATIN ROUGE", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Pigeon Blood Ruby Ring
Unisex Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 14 ct. (192DD)
Fine Jewelry
#171 - 10 Dollar Silver Token, .999 Fine Silver, New Orleans Casino
10 Dollar Silver Token, .999 Fine Silver, New Orleans Casino
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -SINGULARITIES
Salvador Dali signed limited edition, "SINGULARITIES". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
"Woman and Birds in a Landscape" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Raphaelesque Head Exploding
Salvador Dali signed limited edition, "Raphaelesque Head Exploding". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TAUROMACHIE III" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
UNISEX 14K GOLD DIAMOND & GOLDEN CITRINE RING
UNISEX 14K GOLD DIAMOND & GOLDEN CITRINE RING, GOLDEN CITRINE IS APPROXIMATELY 12.00CT AND DIAMOND IS APPROXIMATELY 1.00CT VS1 CLARITY AND G COLOR.
Art
Exquisite Original Signed Lithograph by Artist Pablo Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PIAZZETTA" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Genuine Citrine Necklace
10K Gold Genuine Citrine Necklace
Fine Jewelry
Women's Fancy Peridot and White Diamond Ring
Women's fancy Peridot and white diamond ring set in fine sterling silver. Peridot is approximately 6.25 CT and White diamonds are approximately VS1 clarity and G color .50 CT
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX DIAMOND RING, DIAMOND IS APPROXIMATELY 2.25CT, CLARITY: VS1 I1 COLOR: SILVER CAPE.
Fashion Jewelry
Lady's Fancy Sterling Silver "Mesh" Design Tiffany Ring
Lady's Fancy Sterling Silver "Mesh" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Kneeling Figure" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " Die Aura" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Jewelry & Watches
Unisex Antique Style 14 kt Yellow Gold Golden Sapphire & Diamond Ring
Unisex Antique Style 14 kt Yellow Gold Golden Sapphire & Diamond Ring, Sapphire approx 3.5 cts, Diamonds approx 1.5 cts, VS1, color G.
Art
Robert Lui Hand Signed and Numbered Lithograph -Victorian Chair By The Sea
Robert Lui hand signed and numbered lithograph, "Victorian Chair by the Sea". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Kamorna - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Kamorna. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 19"x21".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Illustration of Don Quixote- Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Illustration of Don Quixote". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Bather". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
X- Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "X". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 29"x10.5"x4.5".
General - Prints/Reproductions
Limited Edition Picasso - Women On The Banks Of The Seine - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Women On The Banks Of The Seine". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Constellation of the Blessed Spirits". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful 14k White Gold Diamond "STAR" shaped Necklace
Lady's Beautiful 14k White Gold Diamond "STAR" shaped Necklace, Diamonds approx 1.25 ct, VS2, G in color.(49DN)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Fancy Orange Morganite and Diamond Ring
Ladies fancy orange morganite and diamond ring set in 10K white gold, orange morganite is approximately 4CT white diamonds are approximately 1.50CT VS1 clarity and I color.
Medium - Sculptures
Rare Pablo Picasso Original Limited Edition 24K Gold Layered Bronze Sculpture - Standing Woman, 194
Pablo Picasso original limited edition 24K gold layered bronze sculpture, "Standing Woman".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Green Dutch Interior I and II - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Green Dutch Interior I and II". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU ASSIS A LA CHEMISE DE TULLE", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Sterling Pigeon Blood Ruby Ring
Unisex Fancy Sterling Pigeon Blood Ruby Ring. Ruby approx 20 ct. (190DD)
Fine Jewelry
#172 - 10 Dollar Silver Gaming Token, .999 Fine Silver. Buffalo Bill
10 Dollar Silver Gaming Token, .999 Fine Silver. Buffalo Bill
Fashion Jewelry
Lady's Beautiful 14 kt White Gold Round Shape Pinkish Sapphire Ring
Lady's Beautiful 14 kt White Gold Round Shape Pinkish Sapphire Ring, Pinkish Sapphires approx 6cts.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Spider of Evening
Salvador Dali signed limited edition, "Spider of Evening". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Coconut Palm" by Ehret
Beautifully framed lithograph. . Approx. size: 31X27.
General - Prints/Reproductions
"Catalan Landscape" - Miro - Limited Edition
Joan Miró i Ferrà (April 20, 1893 – December 25, 1983; Catalan pronunciation: was a Spanish Catalan painter, sculptor, and ceramist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Limited edition Limited Edition on paper. Edition number varies. Approx. size: 19in x 23in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Madonna Of Port Ligat
Salvador Dali signed limited edition, "The Madonna Of Port Ligat". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TAUROMACHIE V" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Fine Jewelry
UNISEX 14K GOLD DIAMOND & GOLDEN CITRINE RING
UNISEX 14K GOLD DIAMOND & GOLDEN CITRINE RING, GOLDEN CITRINE IS APPROXIMATELY 14.00CT AND DIAMOND IS APPROXIMATELY 1.00CT VS1 CLARITY AND G COLOR.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PONTE DI RIALTO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Diamond & Citrine Ring in 10K Gold
1.50 ctw Genuine Diamond & Citrine Ring in 10K Gold
Fine Jewelry
Gold Created Opal Filigree Pendant & Chain Necklace
10K Gold Created Opal Filigree Pendant & Chain Necklace
Fine Jewelry
Ladies Fancy Golden Citrine Sapphire and White Topaz Ring
Ladies fancy golden citrine sapphire and white topaz ring set in fine sterling silver. Golden citrine sapphire is approximately 1.10 CT and white topaz is approximately 1CT.
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX BLACK AND WHITE DIAMOND BAGQUETTE RING, DIAMONDS APPROXIMATE IS 2.80CT CLARITY IS VS1 AND COLOR IS G
Fashion Jewelry
Unisex Unique Fancy Style Sterling Silver Tiffany Ring
Unisex Unique Fancy Style Sterling Silver Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Two Figures in a Room" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Nuclear Head Of An Angle" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Jewelry & Watches
Unisex Antique Style 14 kt Yellow Gold Pink Sapphire & Diamond Ring
Unisex Antique Style 14 kt Yellow Gold Pink Sapphire & Diamond Ring, Sapphire approx 3 cts, Diamonds approx 2 cts, VS1, color G.
Art
Robert Lui Hand Signed and Numbered Lithograph -Victorian Chair By The Sea
Robert Lui hand signed and numbered lithograph, "Victorian Chair by the Sea". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Lady Godiva- Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Lady Godiva". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Pierrot and the Harlequin". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - Large Heads - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Large Heads". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Cellestial Staircase". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Womens Beautiful Sapphire and Diamond Ring
Womens beautiful sapphire and diamond ring set in 10K white gold, sapphire is approximately 1.75CT and white diamonds are approximately .33CT I1 clarity and G color
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture - Geopolitical Child Watches The Birth Of T
This is a limited edition bronze layered with 24K gold entitled "GEOPOLITICAL CHILD WATCHES THE BIRTH OF THE NEW HUMAN (1943)" by Salvador Dali. This statue adaptation of The Birth of the New Human is taken from a painting by Salvador Dali in which he illustrates a plea for a radical liberation from the oppressive entwinement from the past. It shows the birth of the New Human whilst the world is on fire. Comes with the foundry assay. Some variations in marble might occur. Approx. Dimensions: 6.5in. x 8 in. x 8 in.
Art
Lanscape - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Landscape". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE AU VISAGE VOILE", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Slue Sapphire Ring
Unisex Fancy Silver Slue Sapphire Ring. Blue Sapphire approx 22 ct. (189DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
#173 - 10 Dollar Silver Token, .999 Fine Silver. Gold coast
10 Dollar Silver Token, .999 Fine Silver. Gold coast
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Architectural Angelus of Millet
Salvador Dali signed limited edition, "The Architectural Angelus of Millet". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Le Porte Blu" by Guido Borelli
Guido Borelli da Caluso is an Italian painter. He was born in Caluso in 1952. He comes from an artistic background, and his family always encouraged him to develop his talent, as early as childhood. He won a contest at 13 and held his first exhibition at the age of 17 at Ars Plauda Gallery in Turin. After high school, he received his artistic training at the Accademia Albertina in Turin. Today, he has permanent exhibitions in art galleries, in Italy, France, the United Kingdom and in the U.S. Hand signed lithograph. Approx. size: 26X30.
General - Prints/Reproductions
"The Great Gate of Kiev" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Shades Of Night Descending
Salvador Dali signed limited edition, "Shades Of Night Descending". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "SMALL WORLD II" EDITION IS 28 OF 95, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RIALTO BRIDGE - DUSK" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Diamond & Citrine Ring in 10K White Gold
1.50 ctw Genuine Diamond & Citrine Ring in 10K White Gold
Fine Jewelry
Amethyst Heart & CZ Circle-Of-Love Necklace In 10k Gold
Amethyst Heart & CZ Circle-Of-Love Necklace In 10k Gold
Fine Jewelry
Women's Elegant Morganite Ring
Women's elegant morganite ring set in fine sterling silver. Morganite is approximately 5.5 CT
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX DIAMOND RING, DIAMOND IS APPROXIMATELY 2.20CT, CLARITY: VS1 I1 COLOR: SILVER CAPE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
Lady's Stylish Sterling Silver "Star" Design Tiffany Ring
Lady's Stylish Sterling Silver "Star" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper."Die Schneekonigin" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring, Sapphire approx 2 cts, Diamonds approx 1.50 cts, VS1, color G.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Leotard Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Leotard Dancer". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 19"x22".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Young Virgin- Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Young Virgin". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Still Life with Fruit Basket". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Semiramus
Signed bronze and ivory art deco sculpture "Semiramus" by artist Chiparus. Semiramus was the Queen of the Assyrians and was the subject an 18th century play by Voltaire. Voltaire's play inspired many theatrical and operatic productions and the two best known were popular in Paris during the time Chiparus was designing his bronze and ivory figures. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 27.5"x21".
General - Prints/Reproductions
Limited Edition Picasso - Seated Man with A Sword and A Flower - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Seated Man with A Sword and A Flower". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Divine Impenetrability". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Fancy Tiffany Co. Necklace
Lady's Fancy Tiffany Co. Necklace(55DN)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Fancy Golden Citirine and Diamond Ring
Ladies fancy golden citrine and diamond ring set in 10K white gold, golden citrine is approximately 2.50 CT and white diamonds are approximately 1CT VS1 VS2 clarity and I color.
Art
Cats - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Cats". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE ET COUPE DE FRUITS", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 16 ct. (187DD)
Fine Jewelry
#174 - 10 Dollar Silver Token, .999 Fine Silver. Sams Town
10 Dollar Silver Token, .999 Fine Silver. Sams Town
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - St. George and the Dragon
Salvador Dali signed limited edition, "St. George and the Dragon". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Summer Lighthouse II" by Ghambaro
Beautifully framed lithograph. . Approx. size:25X30.
General - Prints/Reproductions
"All Saints" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Virgin Of Guadalupe
Salvador Dali signed limited edition, "The Virgin Of Guadalupe". Comes with COA. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "VENICE" EDITION IS 23 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PONTE ROSSO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond & Amethyst Ring in 10K White Gold
1.50 ctw Diamond & Amethyst Ring in 10K White Gold
Fine Jewelry
Gold Created Blue Sapphire & CZ Journey Pendant Necklace
10K Gold Created Blue Sapphire & CZ Journey Pendant Necklace
Fine Jewelry
Ladies Fancy Rose Morganite and White Diamond Ring
Ladies fancy rose colored morganite and white diamond ring set in fine sterling silver, rose color morganite is approximately 4.5CT and white diamond VS1 Clarity and G color is approximately .50 CT
Fashion Jewelry
UNISEX DIAMOND RING
UNISEX BLACK AND WHITE DIAMOND BAGQUETTE RING, DIAMONDS APPROXIMATE IS 2.50CT CLARITY IS VS1 AND COLOR IS G
Fashion Jewelry
Lady's Fancy Sterling Silver "Hears" Design Tiffany Diamond Ring
Lady's Fancy Sterling Silver "Hears" Design Tiffany Diamond Ring, Diamonds approx .20 VS1, color G.
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Meissonier" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring, Sapphire approx 1.75 cts, Diamonds approx 1.35 cts, VS1, color G.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Hot Pink Marilyn
"Hot Pink Marilyn 1967" lithograph. Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Bullfight III- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Bullfight III". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of a Peasant". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Antinea
Signed bronze and ivory art deco sculpture "Starfish" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 26"x10.5".
General - Prints/Reproductions
Limited Edition Picasso - The Birdcage - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Birdcage". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Garden of Christ". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Michel Delacroise
Beautifully framed and comes with COA. Approx. size: 18X22.
Art
Painting - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Painting". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FEMME AU COLLIER", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Black Onix Ring
Unisex Fancy Silver Black Onix Ring, Onix approx 14 ct. (186DD)
Fine Jewelry
#175 - 10 Dollar Silver Token, .999 Fine Silver. Hard Rock
10 Dollar Silver Token, .999 Fine Silver. Hard Rock
General - Prints/Reproductions
"Red Oval" by Kandinsky
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 28iin x 32in. CC-2H
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Image Disappears
Salvador Dali signed limited edition, "The Image Disappears". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
"Pacifica Sociata" - Unknown artist
Unknown Artist, "Pacifico Socitia". Beautifully framed . Approx. size: 24X32.
General - Prints/Reproductions
"Arch and Point" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Nativity Of A New World
Salvador Dali signed limited edition, "Nativity Of A New World". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FLOWER MAGICIAN" EDITION IS 21 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PONTE DEI SOSPIRI" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
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Fine Jewelry
Genuine Sapphire & Diamond 10K Gold Ring
6.46 ctw. Genuine Sapphire & Diamond 10K Gold Ring
Fine Jewelry
Created Ruby Journey Pendant & Chain Necklace In 10k Gold
Created Ruby Journey Pendant & Chain Necklace In 10k Gold
Fine Jewelry
Women's Fancy Pigeon Blood Ruby and Morganite Ring
Women's fancy pigeon blood ruby and morganite ring set in sterling silver, Pigeon blood ruby is approximately 1.20CT and morganite is approximately 1.20CT.
Fashion Jewelry
STUNNING UNISEX 8.50CT DIAMOND BRACELET
STUNNING UNISEX DIAMOND BRACELET, DIAMONDS APPROXIMATELY 5.50CT CLARITY IS I1 COLOR IS SILVER CAPE.
Fashion Jewelry
Unisex Fancy Sterling Silver "Love Me Not" Design Tiffany Ring
Unisex Fancy Sterling Silver "Love Me Not" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#68 - 2.5ct Tanzanite Earrings
2.5ct Tanzanite Earrings
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " Figure With Swans" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring
Lady's Very Fancy Silver "Ballerina Ring" Blue Sapphire & Diamond Ring, Sapphire approx 1.5 cts, Diamonds approx 1.25 cts, VS1, color G.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Split Skirt - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Split Skirt. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Old Masters
Cavalier with Pipe- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Cavalier with Pipe". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Self Portrait". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Joy of the Blessed". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Elegant Pink Sapphire and Diamond Ring
Ladies elegant pink sapphire and diamond ring set in 10K yellow gold, pink sapphire is approximately .50CT and white diamonds are approximately 1.10CT VS1 clarity and G color.
Art
Shallow-Love - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Shallow Love". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LISEUSE ET BOUQUET DE ROSES", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Emerald Cut Pigeon Blood Ruby Ring
Lady's Fancy Silver Emerald Cut Pigeon Blood Ruby Ring, Ruby approx 16 ct. (185DD)
Fine Jewelry
#176 - 10 Dollar Silver Token, .999 Fine Silver. Flamingo
10 Dollar Silver Token, .999 Fine Silver. Flamingo
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Sing of Anguish
Salvador Dali signed limited edition, "The Sing of Anguish". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
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Art
"Two Girls" by Lasaro
Limited edition lithograph. Approx. size: 33X39.
General - Prints/Reproductions
"Upward" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Alert
Salvador Dali signed limited edition, "The Alert". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "COTTAGES WITH THATCHED ROOFS" EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RIO DELLE PRIGIONI" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Sapphire & Diamond 10K Gold Ring
4.74 ctw. Genuine Sapphire & Diamond 10K Gold Ring
Fine Jewelry
Twin Princess CZ Pendant and Chain Necklace in 10K Gold
Twin Princess CZ Pendant and Chain Necklace in 10K Gold
Fashion Jewelry
Lady's Stylish Sterling Silver "Heart" Design Tiffany Ring
Lady's Stylish Sterling Silver "Heart" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Pierre Renior Limited Edition
Pierre Renior Limited Edition On Paper. "The End Of Lunch" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Four Marilyns Lithograph
Marilyn Monroe times four. Beautifully framed and comes with COA. Approx. size: 43x16. CC-A24
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Interior with a Girl Drawing- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Interior With A Girl". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Madame Cezanne". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Harliquinade - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Harliquinade. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 21"x13"x5".
General - Prints/Reproductions
Limited Edition Picasso - The Dance - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Dance". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Apparition of St. James". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The First Spark of the day - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "The First Spark Of The Day". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ETUDE DE JAMBERS IV (DEMI-LUNE)", CIRCA 1925. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
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Fine Jewelry
Lady's Fancy Blue Sapphire Ring
Lady's Fancy Blue Sapphire Ring, Blue Sapphire approx 20 ct. (184DD)
Fine Jewelry
#177 - 10 Dollar Silver Token, .999 Fine Silver. Buffalo Bill
10 Dollar Silver Token, .999 Fine Silver. Buffalo Bill
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -Six Apparitjons of Lenin a Grand Piano
Salvador Dali signed limited edition, "Six Apparitjons of Lenin a Grand Piano". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Peter Darro Limited Edition Lithograph
Peter Darro Limited Edition Lithograph, signed & numbered, approx dimension 15x12 in.
General - Prints/Reproductions
"Composition X" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Railway Station At Perpignan
Salvador Dali signed limited edition, "The Railway Station At Perpignan". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "THE ARTIST'S STUDIO - FOOT MEDICATION" EDITION IS 26 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RIO DE LA VERONA" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Garnet & Diamond 10K Gold Ring
14.13 ctw. Garnet & Diamond 10K Gold Ring
Fine Jewelry
Onyx Pendant & Chain Necklace in 10K Gold
Onyx Pendant & Chain Necklace in 10K Gold
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Fine Jewelry
Women's Elegant Morganite Ring
Women's elegant morganite ring set in fine sterling silver. Morganite is approximately 5.5 CT. A georgous ring any woman should own.
Fashion Jewelry
STUNNING UNISEX 8.50CT DIAMOND BRACELET
STUNNING UNISEX DIAMOND BRACELET, DIAMONDS APPROXIMATELY 6.25CT CLARITY IS I1 COLOR IS SILVER CAPE.
Fashion Jewelry
Lady's Unique Style Sterling Silver "Mesh & Heart" Design Tiffany Ring
Lady's Unique Style Sterling Silver "Mesh & Heart" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Jewelry & Watches
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring, Blk Onyx approx 5 cts.
Art
Michael Schofield Original Acrylic on Board -Autumn Splendor
Original Michael Schofield acrylic on board, "Autumn Splendor". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Women's beautiful Golden Sapphire and Diamond Ring
Womens beautiful golden sapphire and diamond ring set in 10K yellow gold, golden sapphire is approximately .60CT and white diamonds are approximately 1.25CT VS1 clarity and G color
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
La Coiffure- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "La Coiffure". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of a Peasant". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
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Medium - Sculptures
Snake Dancer - Bronze and Ivory Sculpture by Chiparus.
Chiparus broze and ivory sculpture, "Snake Dancer" Base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 23.5"x11.5".
General - Prints/Reproductions
Limited Edition Picasso - Seated Woman II - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Seated Woman II". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Apotheosis of the Virgin Mary". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Ladies Beautiful Two Tone Diamond and Orange Citrine Ring
Ladies Beautiful Two Tone Diamond and Orange Citrine Ring, orange citriine is approximately 2.00CT and white diamonds are approximately 1.10CT
Art
The Gentleman - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "The Gentleman". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "PORTRAIT DE CORTOT", CIRCA 1926. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Pigeon Blood Ruby Ring
Unisex Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 12 ct. (183DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Catigula's Horse
Salvador Dali signed limited edition, "Catigula's Horse". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Mike Stidham Limited Edition Lithograph "Jumping Trout"
Mike Stidham Limited Edition Lithograph "Jumping Trout", signed & numbered, approx dimension 20x16 in.
Art
"Two Girls" by Lasaro
Limited edition lithograph. Approx. size: 44X32.
General - Prints/Reproductions
"Unbroken Line" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Book Transforming Itself
Salvador Dali signed limited edition, "Book Transforming Itself". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "BEACH WITH FIGURES" EDITION IS 22 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "NEAR RIALTO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond 10K White Gold "$" Ring
1 ctw. Diamond 10K White Gold "$" Ring
Fine Jewelry
Created Ruby Pendant & Chain Necklace in 10K Gold
Created Ruby Pendant & Chain Necklace in 10K Gold
Fine Jewelry
Ladies Fancy Aquamarine Ring
Ladies fancy aquamarine ring set in fine sterling silver. Aquamarine is approximately 3.5 CT.
Fashion Jewelry
Lady's Beautiful Sterling Silver "Love Heart" Design Tiffany Ring
Lady's Beautiful Sterling Silver "Love Heart" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Edgar Degas Limited Edition
Edgar Degas Limited Edition On Paper. "Dance Class" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Jewelry & Watches
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring, Blk Onyx approx 12 cts.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Tannous Signed Limited Edition Lithograph - Via Dolorosa
Limited edition hand signed Tannous lithograph, "Via Dolorosa". Numbered 149/500. Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Victoria - Bronze and Ivory Sculpture by Colinet
Colinet broze and ivory sculpture,Victoria. Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx. size: 18x6x6.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Pipes of Pan- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Pipes of Pan". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Man with Crossed Arms". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - Star
Signed bronze and ivory art deco sculpture "Star" by artist Chiparus, base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Approx size: 30"x10"x4"
General - Prints/Reproductions
Limited Edition Picasso - Wolman In An Armchair - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Wolman In An Armchair". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Angels of the Empyrean". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Woman Walking Down Street - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Woman Walking Down the Street". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU MAIN A L'EPAULE (ARABESQUE III)", CIRCA 1926. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Blue Sapphire Ring
Unisex Fancy Blue Sapphire Ring, Sapphire approx 12 ct. (182DD)
Fine Jewelry
#179 - 1924 Peace Dollar, 1oz Silver. Extra fine condition
1924 Peace Dollar, 1oz Silver. Extra fine condition
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Family of Marsupial Centaurs
Salvador Dali signed limited edition, " Family of Marsupial Centaurs". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Charles Jeffrey Lithograph
Charles Jeffrey Lithograph, hand signed, approx dimension 15x25 in.
Art
A. Herbert Signed Lithograph
A. Herbert signed lithograph. Unknown title. Beautifully framed. Approx. size: 44X32.
General - Prints/Reproductions
"Composition VII" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Limited Edition on canvas. Edition number varies. Approx. size: 19inx22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Nuclear Cross
Salvador Dali signed limited edition, "Nuclear Cross". Comes with COA. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY CLAUDE MONET
LITHOGRAPH IN THE MANNER OF CLAUDE MONET IN A LIMITED EDITION TITLED "PLEASURE BOATS" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSONS ARE APPROXIMATELY 18X21
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CANALE CON BARCHE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Diamond Ring in Sterling Silver
.47 ctw. Diamond Ring in Sterling Silver. Comes with GLA Est. Retail Replacement Value Appraisal Card Pictured Below
Fine Jewelry
Sapphire Heart Pendant and Chain Necklace in 10K Gold
Sapphire Heart Pendant and Chain Necklace in 10K Gold
Fine Jewelry
Women's Fancy Amethyst Ring
Women's fancy amethyst ring set in fine sterling silver, amethyst is approximately 4.5 CT
Fashion Jewelry
STUNNING UNISEX 8.50CT DIAMOND BRACELET
STUNNING UNISEX DIAMOND BRACELET, DIAMONDS APPROXIMATELY 7.50CT CLARITY IS I1 COLOR IS SILVER CAPE.
Fashion Jewelry
Unisex Fancy Sterling Silver "Unique Style" Design Tiffany Ring
Unisex Fancy Sterling Silver "Unique Style" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Jewelry & Watches
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring
Unisex Antique Style 10 kt Yellow Golg Black Onyx Ring, Blk Onyx approx 10 cts.
Art
Chagall Plate Signed Limited Edition Print -Bella and the Red Horse
Chagall plate signed limited edition , "Bella and the Red Horse". Beautifully framed and comes with COA. Approx. size:
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Seated Bather- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Seated Bather". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Italian Girl". Comes with ceritificate of authenticity, framing available at an additonal cost.
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Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Chiparus Bronze and Ivory - A Day At The Beach
Signed bronze and ivory art deco sculpture by Chiparus "A Day At The Beach" sits on a marble/onyx base. Signed Chiparus, Etling Paris foundry mark and is about 11x8x25
General - Prints/Reproductions
Limited Edition Picasso - The Couple - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Couple". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "St. Peter and Dante". Comes with COA and beautifully framed.
Fine Jewelry
Lady's Beautiful 14k White Gold Diamond "HEART" shaped Necklace
Lady's Beautiful 14k White Gold Diamond "HEART" shaped Necklace, Diamonds approx 1.25 ct, VS2, G in color.(50DN)
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Nude - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Nude". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU COUCHE ET COUPE DE FRUITS", CIRCA 1926. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Pigeon Blood Ruby Ring
Unisex Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 22 ct. (181DD)
Fine Jewelry
#180 - 1964 Mint Condition Kennedy Half Dollar
1964 Mint Condition Kennedy Half Dollar
Fashion Jewelry
Lady's Fancy 14 kt White Gold Horse Shoe Shape Golden Sapphire & Diamond Ring
Lady's Fancy 14 kt White Gold Horse Shoe Shape Golden Sapphire & Diamond Ring, Golden Sapphires approx 1.50 cts, Diamonds approx .50 cts, VS1 color G.
General - Prints/Reproductions
"Harlequinn" by Cezanne
Paul Cézanne (19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed. Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 28iin x 32in. CC-2H
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General - Prints/Reproductions
Salvador Dali Signed Limited Edition - THREE AGES
Salvador Dali signed limited edition, "THREE AGES". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Charles Jeffrey Lithograph "Polar Bear"
Charles Jeffrey Lithograph "Polar Bear", hand signed, approx dimension 23x30 in.
Art
A. Herbert Signed Lithograph
A. Herbert signed lithograph. Unknown title. Beautifully framed. Approx. size: 44"x32". CC83U
General - Prints/Reproductions
"Circus Fan Dancer" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Birh Of A New Man
Salvador Dali signed limited edition, "Birh Of A New Man". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ARLEQUIN" EDITION IS 21 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENEZIA II" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Diamond Antique Filigree Style Ring in 10K White Gold
1/2 ctw Diamond Antique Filigree Style Ring in 10K White Gold
Fine Jewelry
Gold Heart Pendant and Chain CZ Solitaire Necklace
10K Gold Heart Pendant and Chain CZ Solitaire Necklace
Fine Jewelry
Ladies Fine Rose Garnet Morganite and Citrine Ring
Ladies fine rose garnet, morganite and citrine ring - set in fine sterling silver. Rose garnet is approximately 2 CT, morganite is approximately .10 CT and Citrine is approximately 6 CT
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Fashion Jewelry
Lady's Fancy Sterling Silver "1837 Lock Charm Band" Design Tiffany Ring
Lady's Fancy Sterling Silver "1837 Lock Charm Band" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Gustave Caillebotte Limited Edition
Gustave Caillebotte Limited Edition On Paper. "A Rainy Day" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Unisex Very Fancy Silver 925 Ruby Bracelet
Unisex Very Fancy Silver 925 Ruby Bracelet, Rubies approx 105 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Seated Woman I- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Seated Woman I". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of Woman". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Girl On The Wall - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Girl On The Wall . Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 11"x9"x6".
General - Prints/Reproductions
Limited Edition Picasso - Head Of A Woman With A Self Portrait - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Head Of A Woman With A Self Portrait". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "Arrival at the Empyrean". Comes with COA and beautifully framed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Bather - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Bather". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU BRAS GAUCHE SUR LA TETE (ARABESQUE V)", CIRCA 1926. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Soft Watch at Moment of Explotion
Salvador Dali signed limited edition, "Soft Watch at Moment of Explotion". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Michael Coleman Mix Media Litho/Serigraph "Mt. Goats"
Michael Coleman Mix Media Litho/Serigraph "Mt. Goats", hand signed, approx dimension 24x18 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
Art
Unknown Title and Artist
Unknown title and artist. Approx. size: 32x44.
General - Prints/Reproductions
"Les Roses" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Invisible Afgan with Apparition
Salvador Dali signed limited edition, "Invisible Afgan with Apparition". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TORERO NOIE" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENEZIA" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Created Emerald & Diamond 10K Gold Ring
Created Emerald & Diamond 10K Gold Ring
Fine Jewelry
Created Ruby & CZ Heart 10K Gold Necklace
Created Ruby & CZ Heart 10K Gold Necklace
Fine Jewelry
Women's Elegant Pink Sapphire and Morganite Ring
Women's elegant pink sapphire and morganite ring set in sterling silver. Pink Sapphire is approximately 3.5 CT and Morganite is approximately .50 CT
Fashion Jewelry
Lady's Fancy Sterling Silver "Hearts Band" Design Tiffany Ring
Lady's Fancy Sterling Silver "Hearts Band" Design Tiffany Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Edgar Degas Limited Edition
Edgar Degas Limited Edition On Paper. "Café Concert" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Pajama Girl - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Pajama Girl. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Seated Woman II- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "Seated Woman II". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of Gustave Geffroy". Comes with ceritificate of authenticity, framing available at an additonal cost.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Infinite Beauty of Beatrice". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Gabrielle And The Jewels - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Gabrielle And The Jewels". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "DANSEUSE, REFLET DANS LA GLACE", CIRCA 1927. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Amethyst Ring
Lady's Fancy Silver Amethyst Ring, Amethyst approx 10ct. (178DD)
Fine Jewelry
#197 - Earrings 9-10mm Boroka originals
Earrings 9-10mm Boroka originals
Fashion Jewelry
Lady's Fancy 14 kt White Gold Amethyst & Diamond Ring
Lady's Fancy 14 kt White Gold Amethyst & Diamond Ring, Amethysts approx 6 cts, Diamonds approx .50 cts, VS1 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - THE BURNING GIRAFFE
Salvador Dali signed limited edition, "THE BURNING GIRAFFE". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
Art
Unknown piece signed Milligan
Unknown title and medium. Signed "Milligan". Beautifully framed. Approx. size: 24x30.
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General - Prints/Reproductions
"Wedding" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Debris Of An Automobile
Salvador Dali signed limited edition, "Debris Of An Automobile". Comes with COA. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "MARTINI". EDITION IS 21 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "GRAND CANAL" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Garnet & Diamond 10K Gold Ring
1 ctw. Garnet & Diamond 10K Gold Ring
Fine Jewelry
Citrine Heart Pendant and Chain Necklace in 10K Gold
Citrine Heart Pendant and Chain Necklace in 10K Gold
Fine Jewelry
Ladies Fancy Morganite Ring
Ladies fancy morganite ring set in fine sterling silver. Morganite is approximately 1.5 CT
Fashion Jewelry
Lady's Fancy Sterling Silver " Wave" Design Tiffany Puzzle Ring
Lady's Fancy Sterling Silver " Wave" Design Tiffany Puzzle Ring
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Edouard Manet Limited Edition
Edouard Manet Limited Edition On Paper. "The Pier At Boulogue" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
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Fine Jewelry
Lady's Very Fancy Silver 925 "Pear Shape" Blue Sapphires Necklace
Lady's Very Fancy Silver 925 "Pear Shape" Blue Sapphires Necklace, Sapphires approx 100 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Sleeping Nude- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, Sleeping Nude. Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Landscape with Mont Sainte Victorie". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - Nude With A Bouqet Of Irises - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Nude With A Bouqet Of Irises". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "The Loyal Angels". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Bustamante Original Limited Edition 24K Gold Layered Bronze -Sun King
Bustamante signed and numbered 24K gold layered bronze sculpture, "Sun King". Comes with COA. Approx. size: 10.5x12x3".
Art
L'Estaque - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "L'Estaque". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TORSE A L'AIGUIERE", CIRCA 1927. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
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Fine Jewelry
Unisex Fancy Silver Pigeon Blood Ruby Ring
Unisex Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 16 ct. (177DD)
Fine Jewelry
#199 - 10-11mm Pearl Color Borokas
10-11mm Pearl Color Borokas
Fashion Jewelry
Unisex Very Fancy 14 kt White Gold Brown Lapist Ring
Unisex Very Fancy 14 kt White Gold Brown Lapist Ring, Brown Lapist approx 5 cts.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Knight Death
Salvador Dali signed limited edition, "The Knight Death". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Les Lupin Bleu" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Hyperidological Sky
Salvador Dali signed limited edition, "Hyperidological Sky". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ALPES" EDITION IS 23 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VENETIAN WINDOWS" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Black Diamond Solitaire Ring in 14K White Gold
2 ctw Black Diamond Solitaire Ring in 14K White Gold. Comes with GLA Est. Retail Replacement Value Appraisal Card Pictured Below
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Fine Jewelry
Peridot Pendant and Chain Necklace in 10K Yellow Gold
Peridot Pendant and Chain Necklace in 10K Yellow Gold
Fine Jewelry
Women's Fancy Amethyst and White Topaz Ring
Women's fancy amethyst and white topaz ring set in fine sterling silver. Amethyst is approximately 4.5 CT and white topaz is approximately .50 CT.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Lady's Very Fancy Silver 925 "Multi Shape" Ruby Necklace
Lady's Very Fancy Silver 925 "Multi Shape" Ruby Necklace, Rubies approx 100 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Persian Dancers - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Persian Dancer. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 25"x16".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Old Blind Guitar Player- Picasso- Limited Edition on Canvas
Picasso Limited Edition on canvas, "The Old Blind Guitar Player". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Self Portrait". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - Woman Reading - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Woman Reading". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "DANSEUSE DE BOUT, VISAGE COUPE", CIRCA 1927. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Sterling Pigeon Blood Ruby Ring
Unisex Fancy Sterling Pigeon Blood Ruby Ring. Ruby approx 22 ct. (176DD)
Fine Jewelry
#201 - Hand Knotted Jewelry, Bronze color pearl. 8-9mm-32in all original
Hand Knotted Jewelry, Bronze color pearl. 8-9mm-32in all original
Fashion Jewelry
Lady's Very Fancy 14 kt White & Yellow Gold with White Diamond Ring
Lady's Very Fancy 14 kt White & Yellow Gold with White Diamond Ring, Diamonds approx .25 cts, VS1 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Fountain Flowing from a Grand Piano
Salvador Dali signed limited edition, "Fountain Flowing from a Grand Piano". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
Art
Chagall Lithograph
Chagall lithograph. Beautifully framed . Approx. size:
General - Prints/Reproductions
"Tree Over Village" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Figures Lying On The Sand
Salvador Dali signed limited edition, "Figures Lying On The Sand". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FILLE DE MINOS" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CASE VENEZIANE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Black Diamond Solitaire Ring in 14K White Gold
1.25 ctw. Black Diamond Solitaire Ring in 14K White Gold. Comes with GLA Est. Retail Replacement Value Appraisal Card Pictured Below
Fine Jewelry
Gold Created Pink Sapphire Circle-Of-Love Necklace
10K Gold Created Pink Sapphire Circle-Of-Love Necklace
Fine Jewelry
Ladies Fancy Blue Sapphire and White Topaz Ring
Ladies' fancy blue sapphire and white topaz ring set in fine sterling silver. sapphire is approximately 1.10ct and White topaz is approximately 1ct
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings, Shape "Four Leaf Clover" pair
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "The End of The Number" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 3.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Romeo and Juliette - Bronze and Ivory Sculpture by Poertzel
Poertzel bronze and ivory sculpture, Romeo and Juliette. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x15".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Apparatus and Hand- Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Apparatus and Hand". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Woman Bathers". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - The Weeping Woman - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Weeping Woman". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise), "St. Bernard's Prayer to the Virgin". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Spirit of Ecstasy - 24K Gold Layered Limited Edition Sculpture
This Charles Robinson Sykes sculpture, "Spirit of Ecstasy", was originally designed by Sykes to be the mascot for the Rolls-Royce Silver Ghost. Sykes modeled the piece after the woman he loved who was also engaged in a secret love affair with her boss, a pioneer of the auto industry. His love and her boss were aboard the S.S. Persia that was torpedoed off Crete. This is a limited edition bronze and then layered with 24K gold. Comes with foundry assay. Some variations in marble might occur.
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "DANSEUSE AU MIROIR", CIRCA 1927. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Blue Sapphire Ring
Lady's Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 14 ct. (175DD)
Fine Jewelry
#202 - Hand Knotted Jewelry, Bronze color pearl. 9-10mm-32in all original
Hand Knotted Jewelry, Bronze color pearl. 9-10mm-32in all original
Fashion Jewelry
Unisex Fancy 14 kt Gold Alexandrite 2 color change Ring
Unisex Fancy 14 kt Gold Alexandrite 2 color change Ring, Alexandrite approx 3 cts.
General - Prints/Reproductions
"The Art of Money" by Warhol
Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 25in x 30in.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Enchanted Beach
Salvador Dali signed limited edition, "Enchanted Beach". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Michael Coleman Mix Media Litho/Serigraph "Grizzlies"
Michael Coleman Mix Media Litho/Serigraph "Grizzlies", hand signed, approx dimension 22x25 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
Art
Signed Wandeo - Unknown Title
Beautiful piece. Unknown title, plate signed by artist Wandeo. Approx. size: 43x24.
General - Prints/Reproductions
"Bouqet Over City" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Rotting Dokey
Salvador Dali signed limited edition, "The Rotting Dokey". Comes with COA. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "SWING". EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CANAL RIFLESSI" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Black Diamond Solitaire Ring in 14K White Gold
1.75 ctw. Black Diamond Solitaire Ring in 14K White Gold
Fine Jewelry
Emerald Heart Pendant and Chain Necklace in 10K Gold
Lab-Created Emerald Heart Pendant and Chain Necklace in 10K Gold
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Ladies Fancy Cognac Morganite and White Topaz Ring
ladies fancy cognac morganite and white topaz ring set in fine sterling silver. Cognac morganite is approximately 2 CT and white topaz is approximately .50 CT
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#73 - Tanzanite Earrings
Tanzanite Earrings. 2.5ct approx
General - Old Masters
Edgar Degas Limited Edition
Edgar Degas Limited Edition On Paper. "At The Races" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Russian Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Russian Dancer. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. .
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Apparition Of Face On A Fruit Dish - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Apparition Of Face On A Fruit Dish". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Woman Bathers". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Limited Edition Picasso - The Sculptor - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "The Sculptor". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Flatterer". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Madame Henriot - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Madame Henriot". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU AU TURBAN", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 18 ct. (174DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Landscape near Port ligot
Salvador Dali signed limited edition, " Landscape near Port ligot". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Pence Serigraph
Pence Serigraph, A/P hand signed, approx dimension 24x42 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Bella and the Red Horse" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Woman By The Cliffs
Salvador Dali signed limited edition, "Woman By The Cliffs". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL SIGNED LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "STILL LIFE WITH MACKEREL" EDITION IS 21 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
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Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CHIESA DELLA SALUTE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Ruby Ring in 10K White Gold
6 ct. Genuine Ruby Ring in 10K White Gold
Fine Jewelry
Ruby Pendant and Chain Necklace in 10K Gold
Lab-Created Ruby 3 Stone Pendant and Chain Necklace in 10K Gold
Fine Jewelry
Women's Fine Fancy Two Tone White Topaz Ring
women's fancy two tone white topaz ring set in fine sterling silver. White topaz is approximately 2 CT
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- SignedLimited Edition On Paper. "Dante" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 4.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Old Masters
Bacchanale - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Bacchanale". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
Original Lithograph by Artist Paul Cezanne
Lithograph in the manner of Paul Cezanne, titled "Portrait of the Gardener Vallier". Comes with ceritificate of authenticity, framing available at an additonal cost.
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Sodomites". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Nude Study - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Nude Study". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU ASSIS, BRAS GAUCHE SUR LA TETE", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Pigeon Blood Ruby Ring
Lady's Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 10ct. (173DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Castration Complex
Salvador Dali signed limited edition, "Castration Complex". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Charles Jeffrey Limited Edition Etching "Artict Dancers"
Charles Jeffrey Limited Edition Etching "Artict Dancers", hand signed, approx dimension 17x15 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
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General - Prints/Reproductions
"King David" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Endless Enigma
Salvador Dali signed limited edition, "The Endless Enigma". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "COMPOSITION X" EDITION IS 23 OF 95, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW FROM PIAZZALE" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Ruby Ring in 10K Yellow Gold
6 ct. Genuine Ruby Ring in 10K Yellow Gold
Fine Jewelry
Lab-Created Ruby Pendant and Chain Necklace in 10K Gold
Lab-Created Ruby Pendant and Chain Necklace in 10K Gold
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Double Heart Earrings
Lady's Fancy Tiffany Sterling Silver Double Heart Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Necklace, Emerald approx 1.25 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Medium - Sculptures
Kapurthala - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Kapurthala. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 2"x10"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Chariot - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Chariot". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
Signed Preiss Bronze and Ivory - Tennis Player
Signed bronze and ivory art deco sculpture "Tennis Player" by artist Preiss, base signed , carved ivory beautiful patina bronze (some variations in patina may occur), sits on a marble/onyx base. Approx size: 13"x11"x6"
General - Prints/Reproductions
Limited Edition Picasso - Seated Woman In A Garden - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Seated Woman In A Garden". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Fraud". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Lovers
Dali sculpture, "Lovers", is cast in bronze and layered in 24K gold. Sculpture measures approx. 7.5". Comes with foundry assay. Some variations in marble might occur.
Art
Painting - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "Painting". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE ENDORMIE, CHALE SUR LES JAMBES", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Aquamarine Ring.
Lady's Fancy Silver Aquamarine Ring, Aquamarine approx 20 ct. (171DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
#206 - 9-10mm Genuine Pearls Black
9-10mm Genuine Pearls Black
General - Prints/Reproductions
Rembrandt Limited Edition - HEAD OF CHRIST
Rembrandt signed limited edition, "HEAD OF CHRIST". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"King David Artist" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Apotheosis Of Homer
Salvador Dali signed limited edition, "The Apotheosis Of Homer". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "STILL LIFE WITH OPEN BIBLE" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "ROOF TOPS" CIRCA 1971. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Sapphire Ring in 10K White Gold
15 ctw Genuine Sapphire Ring in 10K White Gold
Fine Jewelry
Aquamarine Cross Pendant & Chain Necklace in 10K Gold
Aquamarine Cross Pendant & Chain Necklace in 10K Gold
Fine Jewelry
Very fancy Tiffany Sterling Silver Womens Earings
Very fancy Tiffany Sterling Silver Womens Earings
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- SignedLimited Edition On Paper. "Education Of The Young" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Necklace, Emerald approx 1.40 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Christ Of St. John Of The Cross - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Christ Of St. John Of The Cross". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Medium - Sculptures
The Golfer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "The Golfer". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 16"x6"x4".
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Corrupt". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The English Peartree - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "The English Pear Tree". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE ENDORMIE (SOL AUX CARREAUX ROUGES)", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 16 ct. (160DD)
Fine Jewelry
#207 Earrings Bronze 11-12mm
Earrings Bronze 11-12mm
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -CHRISTMAS
Salvador Dali signed limited edition, "CHRISTMAS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
General - Prints/Reproductions
"Reverie" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Landscapes With Telephones On A Plane
Salvador Dali signed limited edition, "Landscapes With Telephones On A Plane". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "SUN GODDESS FLOWER" EDITION IS 29 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PIAZZA POGGI" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Sapphire Ring in 10K Gold
15 ctw Genuine Sapphire Ring in 10K Gold
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Pearl 10K Yellow Gold Cross Necklace
Pearl 10K Yellow Gold Cross Necklace
Fine Jewelry
Ladies Heart Blue Topaz and White Diamond Ring
Ladies heart shaped blue topaz and white diamond ring set in find sterling silver. Blue topaz is heart shaped cut and is approximately 3.5 Ct, white diamonds are VSI clarity and G color approximately .25 ct.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Diamond Earrings
Lady's Fancy Tiffany Sterling Silver Diamond Earrings, Diamond Approx .60 ct, Color VS1 - I
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape"Emerald Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape"Emerald Necklace, Emerald approx 1.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Cosmic Horseman - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Cosmic Horseman". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Ugolino and Ruggieri". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Art
TheGreatBoulevards - Renoir - Limited Edition on Canvas
Pierre Renoir Limited Edition on canvas, "The Great Boulevards". Comes with COA. Approx. size: 20"x24". HC-0045
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU COUCHE DE DOS", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 22 ct. (166DD)
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - The Lovers
Marc Chagall Signed Limited Edition, "The Lovers". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Bouqet Above City" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Vision Of Eternity
Salvador Dali signed limited edition, "Vision Of Eternity". Comes with COA. Edition number may vary from pictured.
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "THE OLD MILL" EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
Art
Beautiful Original Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso, unframed, mint condition, dimensons are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FIRENZE ROSA" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Genuine Ruby Ring in 10K Gold
4 ctw. Genuine Ruby Ring in 10K Gold
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Pearl 10K Yellow Gold Cross Necklace
Pearl 10K Yellow Gold Cross Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings, shape "XX" pair
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- SignedLimited Edition On Paper. "Modern Rhapsody" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt White Gold Pink Sapphire Necklace
Lady's Fancy 14kt White Gold Pink Sapphire Necklace, Sapphire approx 5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Slit Skirt - Bronze and Ivory Sculpture by Chiparus
Chiparus broze and ivory sculpture, Slit Skirt. . Base signed , carved ivory beautiful patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Daddy Long Legs Of The Evening - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Daddy Long Legs Of The Evening". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - Woman In A Red Hat - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Woman In A Red Hat". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Punishment of Vanni Fucci". Comes with COA and beautifully framed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Anthropormorphic
Dali sculpture, "Anthropormorphic" , is cast in bronze and layered in 24K gold. Sculpture measures approx. 4". Comes with foundry assay. Some variations in marble might occur.
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE VOILEE AUX DEUX BRACELETS", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver "Cushion Cut" Amethyst Ring
Lady's Fancy Silver Amethyst Ring, Amethyst approx 8ct. (165DD)
General - Prints/Reproductions
Marc Chagall Signed Limited Edition - Circus Acrobats
Marc Chagall Signed Limited Edition, "Circus Acrobats ". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Laguna Beach"
Limited Edition Lithograph by Jacobson titled "Laguna Beach" , hand signed, approx dimension 12x13 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Bowl of Cherries" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -
Salvador Dali signed limited edition, "". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "GNOMUS" , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "THE FLOOD OF FLORENCE" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Ruby & Diamond Ring in 10K Gold
3 ctw. Ruby & Diamond Ring in 10K Gold
Fine Jewelry
Pearl & White Sapphire 10K Gold Circle-Of-Love Necklace
Pearl & White Sapphire 10K Gold Circle-Of-Love Necklace
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- SignedLimited Edition On Paper. "Wounded Soft Watch" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt White Gold Pink Sapphire Necklace
Lady's Fancy 14kt White Gold Pink Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Discovery Of America - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Discovery Of America". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - Sleeping Woman Before Green Shutters - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Sleeping Woman Before Green Shutters". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Centuar". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ODALISQUE BRASERO ET COUPE DE FRUITS", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 18 ct. (172DD)
Fashion Jewelry
Lady's Beautiful 14 kt White Gold Golden Sapphire & Garnet Ring
Lady's Beautiful 14 kt White Gold Golden Sapphire & Garnet Ring, Golden Sapphires approx 5 cts, Garnets approx 2 cts.
General - Prints/Reproductions
George Suerat Limited Edition - Sunday Afternoon
George Suerat Limited Edition, "Sunday Afternoon". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Court Yard"
Limited Edition Lithograph by Jacobson titled "Court Yard" , hand signed, approx dimension 12x13 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Nighttime Bouqet" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Skull Of Zurbaran
Salvador Dali signed limited edition, "Skull Of Zurbaran". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "YELLOW RED AND BLUE" EDITION IS 26 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FIRENZE" CIRCA 1968. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
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Fine Jewelry
Genuine Amethyst Ring in 10K White Gold
Large 10.15 CT Genuine Amethyst Ring in 10K White Gold
Fine Jewelry
Mystic Topaz & White Sapphire 10K Gold Circle-Of-Love Necklace
Mystic Topaz & White Sapphire 10K Gold Circle-Of-Love Necklace
Fine Jewelry
Women's Fancy Green Emerald and White Diamond Ring
Women's green emerald and white diamond ring set in fine sterling silver. Green emerald is approximately 1.5 CT and white diamonds are approximately .25 VSI clarity and G color.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Heart Earrings
Lady's Fancy Tiffany Sterling Silver Heart Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn-Limited Edition On Paper. "A Man Seated At A table" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14kt White Gold Pink Sapphire Necklace
Lady's Fancy 14kt White Gold Pink Sapphire Necklace, Sapphire approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Spring Awakening - Bronze and Ivory Sculpture by Preiss
Preiss bronze and ivory sculpture, Spring Awakening. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 14"x8".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Espana - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Espana". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Limited Edition Picasso - Portrait Of A Painter, After El Greco - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Portrait Of A Painter, After El Greco". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Simoniac". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LE RENARD BLANC", CIRCA 1929. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Blue Sapphire Ring
Lady's Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 12 ct. (161DD)
General - Prints/Reproductions
Klimt Signed Limited Edition - lady with a Feathered Boa
Klimt Signed Limited Edition, "lady with a Feathered Boa". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Outside Cafe"
Limited Edition Lithograph by Jacobson titled "Outside Cafe" , hand signed, approx dimension 12x13 in.
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Horsewoman With Doves" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Suburbs Of A Paranoiac
Salvador Dali signed limited edition, "Suburbs Of A Paranoiac". Comes with COA. Edition number may vary from pictured.
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "PORTRAIT II" EDITION IS 28 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "AFTERMATH" CIRCA 1968. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Created Opal 10K Solid Gold Necklace
Created Opal 10K Solid Gold Necklace
Fine Jewelry
Women's Fancy Pink Sapphire and White Topaz Ring
Women's fancy pink sapphire and white topaz ring set in fine sterling silver. Pink sapphire is approximately 5 CT and white topaz is approximately 2 ct.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "La Disuse" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 2 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Hallucinogenic Toreador - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Hallucinogenic Toreador". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Limited Edition Picasso - Maya With A Doll - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "Maya With A Doll". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Mohammed". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Plated Bronze Sculpture- Female Bust
Dali sculpture, "Female Bust", is cast in bronze and layered in 24K gold. Sculpture measures approx. 6.5". Comes with foundry assay. Some variations in marble might occur.
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "PERSANE", CIRCA 1930. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 16 ct. (167DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Portrait of Paul Eluard
Salvador Dali signed limited edition, "Portrait of Paul Eluard". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Side Street Cafe"
Limited Edition Lithograph by Jacobson titled "Side Street Cafe" , hand signed, approx dimension 11x15 in.
General - Prints/Reproductions
"Ten Commandments" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Chemist of Ampurdian
Salvador Dali signed limited edition, "The Chemist of Ampurdian". Comes with COA. Edition number may vary from pictured.
Art
ERTE LITHOGRAPH JUNE BRIDGES SUITE BEAD GOWN
LITHOGRAPH IN THE MANNER OF ERTE TITLED "JUNE BRIDES SUITE - BEAD GOWN" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED DIMENSIONS ARE APPROXIMATELY 20X24
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "HUNTINGTON HARBOUR" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Created Blue Sapphire 10K Gold Necklace
Created Blue Sapphire 10K Gold Necklace
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Pierre Renior Limited Edition
Pierre ReniorLimited Edition On Paper. "The Loge" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 2.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Tango - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Tango. This piece is thought to represent Rudolph Valentino and his wife Natasha Rambova, While Valentino is remembered most for his film career, he also danced with his wife for audiences in the U.S. and Europe. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 24.5"x6.5".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Horseman - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Horseman". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Prints/Reproductions
Limited Edition Picasso - - Collection Domaine Picasso
Limited edition Picasso from the Collection Domaine Picasso, "". Museum stamped and comes with COA. Edition size: 300. Edition number varies.. CC
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Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Gianni Schicchi's Bite". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
EXTREMELY RARE ORIGINAL LITHOGRAPH BY ARTIST HENRI MATISSE
LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FIGURE DANS FAUTEVIL", CIRCA 1930. Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
Fine Jewelry
Lady's Fancy Silver Pigeon Blood Ruby Ring
Lady's Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 12ct. (169DD)
Fine Jewelry
#91 Fancy Ladys 14K Columbian Emerald Ring
Fancy Ladys 14K Columbian Emerald Ring, Approx 1.25ct Columbian Emerald. Heavy
General - Prints/Reproductions
"Skating" Sir Henry Rayburn Limited Edition
Sir Henry Rayburn (4 March 1756 – 8 July 1823) was a Scottish portrait painter. He was born the son of a manufacturer in Stockbridge, a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to a goldsmith, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. The goldsmith watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Rayburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Rayburn. Rayburn was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting everything directly from life. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the nineteenth century from romanticism to Impressionism. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Botero Limited Edition - Unknown
Botero Limited Edition, "Unknown". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Country Harbor"
Limited Edition Lithograph by Jacobson titled "Country Harbor" , hand signed, approx dimension 11x15 in.
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"Artist and Bouqet" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Labrynth
Salvador Dali signed limited edition, "Labrynth". Comes with COA. Edition number may vary from pictured.
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR BEARING THE SIGNATURE DALI COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
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Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FISHING BOATS" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Edouard Manet Limited Edition
Edouard Manet Limited Edition On Paper. "The Departure Of The Folkestone" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold London Blue Sapphire Necklace, Sapphire approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Civa- Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Civa. This piece was inspired by the exotic, tradional Eastern dance style adopted by Parisan revue performers such as Gipsy Rhouma-je and Perry. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 27"x18".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Impressions Of Africa - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Impressions Of Africa". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Progphecy of Vanni Fucci". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Unisex Fancy Silver Blue Sapphire Ring
Unisex Fancy Silver Blue Sapphire Ring, Blue Sapphire approx 18 ct. (163DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Horsemen of Apocalypse
Salvador Dali signed limited edition, " The Horsemen of Apocalypse". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "Flower Stall"
Limited Edition Lithograph by Jacobson titled "Flower Stall" , hand signed, approx dimension 12x14 in.
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"At the Circus" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Invention Of The Monsters
Salvador Dali signed limited edition, "The Invention Of The Monsters ". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "THE TWO CROWDS OF THE LUSTFU" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FISH CLEANED" CIRCA 1971. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
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Fine Jewelry
10K Yellow Gold Created Ruby Heart Necklace
10K Yellow Gold Created Ruby Heart Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Limited Edition
Salvador Dali-Limited Edition On Paper. "Flordali ll" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy 14 kt White Gold "Unique" Tanzanite Necklace
Lady's Very Fancy 14 kt White Gold "Unique" Tanzanite Necklace, Tanzanites approx 5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Tender Promises - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Tender Promises. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 16"x30".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Infanta Margarita - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Infanta Margarita". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Traitor of Montaperti". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Venus on a Shell
Dali sculpture, "Venus on a Shell", is cast in bronze and layered in 24K gold. Sculpture measures approx. 7.5". Comes with foundry assay. Some variations in marble might occur.
Fine Jewelry
Lady's Fancy Silver Black Diamond Ring
Lady's Fancy Silver Black Diamond Ring, Black Diamond approx 7 ct. (164DD)
Fashion Jewelry
Lady's Fancy 14 kt White Gold Band & Black Diamond Ring
Lady's Fancy 14 kt White Gold Band & Black Diamond Ring, Black Diamonds approx 0.75 cts.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Illustration for don Quixote II
Salvador Dali signed limited edition, "Illustration for don Quixote II". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Jacobson Limited Edition Lithograph "View to the West"
Limited Edition Limited Edition Lithograph by Jacobson titled "View to the West" , hand signed, approx dimension 12x16 in.
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"Ameruese" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Set Of Tristan
Salvador Dali signed limited edition, "Set Of Tristan". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "ST. BERNARD'S PRAYER TO THE VIRGIN" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CATALINA ISLAND MARINA" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
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Fine Jewelry
10K Gold White Sapphire & Created Ruby Necklace
10K Gold White Sapphire & Created Ruby Necklace
Fine Jewelry
LADIES 14K WHITE GOLD PEARL AND DIAMOND NECKLACE
THIS LADIES 14K WHITE GOLD PEARL DIAMOND NECKLACE IS COMPRISED OF 3 PRONGS SET ROUND CUT 70 DIAMONS AND 10.00MM ASH COLOR PEARL. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 5.00CTS. THE TOTAL WEIGHTS OF THE NECKLACE IS 34.90 GRAMS, DIAMOND CHARACTERISTICS QUALITY IS 5.00CTW CLARITY IS SI1 SI2 I1 COLOR IS H I. COMES WITH APPRAISAL
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Limited Edition
Salvador Dali-Limited Edition On Paper. "Die Rolen Schuhe" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Very Fancy 14 kt White Gold "Unique" Tanzanite Necklace
Lady's Very Fancy 14 kt White Gold "Unique" Tanzanite Necklace, Tanzanites approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Thais - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Thais. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 21.5"x23".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Invisible Man - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Invisible Man". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Reassurance". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy Silver Golden Sapphire Ring
Lady's Fancy Silver Golden Sapphire Ring, Golden Sapphire approx 8 ct. (159DD)
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Christian Knight
Salvador Dali signed limited edition, "Christian Knight". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Renoux Limited Edition Lithograph "Morning Café"
Limited Edition Lithograph by Renoux titled "Morning Café", signed & numbered, approx dimension 15x12 in.
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:11"x12".
General - Prints/Reproductions
"La Reve" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Ruin With Head Of Medusa
Salvador Dali signed limited edition, "Ruin With Head Of Medusa". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "TOWARDS THE TREE OF LAW" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FISHERMAN'S WHARF - EVENING" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Tanzanite 10K Yellow Gold Necklace
Tanzanite 10K Yellow Gold Necklace
Fine Jewelry
18K GOLD LADIES DIAMOND PRESIDENTIAL ROLEX
LADIES ROLEX 18K GOLD, DIAMOND DIAL PRESIDENTIAL ROLEX.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Limited Edition
Salvador Dali-Limited Edition On Paper. "Fire fire" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Unique Style 14 kt White Gold Tanzanite Necklace
Lady's Fancy Unique Style 14 kt White Gold Tanzanite Necklace, Tanzanite approx 2 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
The Secret - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, The Secret. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22.5"x13".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
King - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "King". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Charon". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Unisex Fancy Silver Pigeon Blood Ruby Ring
Unisex Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 10 ct. (158DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
Lady's Fancy 14 kt White Gold Oval Shape Black & White Diamond Ring
Lady's Fancy 14 kt White Gold Oval Shape Black & White Diamond Ring, Black Diamonds approx 3 cts, White Diamonds approx .30 cts, VS1 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Two Woman with a town in the Background
Salvador Dali signed limited edition, "Two Woman with a town in the Background". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Berhens Limited Edition Lithograph "Country Line"
Limited Edition Lithograph by Berhens titled "Country Line", signed & numbered, approx dimension 11x14 in.
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"Chanukah" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - A Couple With Heads In The Clouds
Salvador Dali signed limited edition, "A Couple With Heads In The Clouds". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "THE WOOD AND THE SUICIDE" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Beautiful One of a Kind Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PORTO SANTO STEFANO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Multi-Gemstones Necklace
10K Gold Multi-Gemstone Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali- Limited Edition
Salvador Dali-Limited Edition On Paper. " Drawer Of Memory" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Unique Style 14 kt White Gold Tanzanite Necklace
Lady's Fancy Unique Style 14 kt White Gold Tanzanite Necklace, Tanzanite approx 2.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Three Dancers - Bronze and Ivory Sculpture by Phillipe
Phillipe bronze and ivory sculpture, Three Dancers. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x17".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Lenin Tiger - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Lenin Tiger". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "News of the Lower Depths of Hell". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Plated Bronze Sculpture- Female Figure
Dali sculpture, "Female Figure" , is cast in bronze and layered in 24K gold. Sculpture measures approx. 8". Comes with foundry assay. Some variations in marble might occur.
Fine Jewelry
Lady's Fancy Silver Pigeon Blood Ruby Ring
Lady's Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 14 ct. (157DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"In The Well Of The Great Wave" -Katsushika Hokusai Limited Edition
Katsushika Hokusai was born in Edo, in 1760, apparently the son of an artisan. Hokusai is one of the great masters of Japanese woodblock print and one of the great creative and innovative genius of all time. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Woman with a Head of Roses
Salvador Dali signed limited edition, "Woman with a Head of Roses". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Michael Coleman Mix Media Litho/Serigraph
Michael Coleman Mix Media Litho/Serigraph, titled "Grizzly", signed & numbered, approx dimension 19X22 in.
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 8"x10". In excellent condition, comes unframed
General - Prints/Reproductions
"Exodus" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Enigma Of Desire
Salvador Dali signed limited edition, "The Enigma Of Desire". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "VIRGIL'S LAST WORDS" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Original Signed Icart Lithograph on Paper
Stunning in the manner of Icart bearing the signature on paper, dimensions are approximately 9.5X7, unframed mint condition.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JACK IN BOX" CIRCA 1973. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Multi-Gemstone Circle-Of-Love Necklace
10K Gold Multi-Gemstone Circle-Of-Love Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#86 - Diamond and Heart Watch
Diamond and Heart Watch, Quartz
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "Woman With A chignon" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold Blue Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold Blue Sapphire Necklace, Sapphire approx 3.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Yambo - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Yambo. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Lincoln Vision - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Lincoln Vision". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Minos". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Fine Jewelry
Lady's Fancy Silver Pigeon Blood Ruby Ring
Lady's Fancy Silver Pigeon Blood Ruby Ring, Ruby approx 22 ct. (156DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Sun Table
Salvador Dali signed limited edition, " Sun Table". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Michael Son Serigraph "Tiger"
Serigraph by Michael Son signed & numbered approx dimension 35x29 in.
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:11"x12".
General - Prints/Reproductions
"Paris Opera Ceiling" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Self Portrait With Fried Bacon
Salvador Dali signed limited edition, "Self Portrait With Fried Bacon". Comes with COA. Edition number may vary from pictured.
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "NEWS OF THE LOWER DEPTHS OF HELL" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Fine Original Icart Lithograph on Paper Pencil Signed
Fine in the manner of Icart lithograph on paper bearing the signature, dimensions are approximately 9.5X7, unframed, mint condition
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAILS AT BELMONT" CIRCA 1967. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Created Sapphire Circle-Of-Love Necklace
10K Gold Created Sapphire Circle-Of-Love Necklace
Fine Jewelry
LADIES 14K WHITE GOLD PEARL AND DIAMOND NECKLACE
THIS LADIES 14K WHITE GOLD PEARL DIAMOND NECKLACE IS COMPRISED OF 3 PRONGS SET ROUND CUT 46 DIAMONDS AND 10.00MM 2 WHITE COLOR PEARLS. TOTAL ESTIMATED DIAMONDS' WEIGHTS ARE 4.00CTS. THE TOTAL WEIGHT OF THE NECKLACE IS 35.70 GRAMS. CLARITY IS SI1 SI1 I1 COLOR IS H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn-Limited Edition On Paper. "Study Of Oriental Standing" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold Blue Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold Blue Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Chorus Line - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture. This piece was inspired by the famous chorus lines of les annees folles. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x24"x6".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Mad Tea Party - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Mad Tea Party". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Irascible". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Cap Martin - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Cap Martin". Comes with COA. Approx. size: 20"x24". HC-0045
Fine Jewelry
Lady's Fancy Silver Black Diamond Ring
Lady's Fancy Silver Black Diamond Ring, Black Diamond approx 6 ct. (162DD)
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Marc Chagall Signed Limited Edition -PLAYERS
Marc Chagall Signed Limited Edition, "PLAYERS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Pearl Earrings
Fancy pair of 14K gold, pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"Artist and Model" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "DANTE RE-AWAKES" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Museum Quality Original Pencil Signed Icart Lithograph
Beautiful lithograph in the manner of Icart bearing the signature, unframed, mint condition, dimensions are approximately 9.5X7
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MARINA AT BELMONT" CIRCA 1969. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Peridot Circle-Of-Love Necklace
10K Gold Peridot Circle-Of-Love Necklace
Fine Jewelry
LADIES 14K WHITE GOLD DIAMOND NECKLACE
LADIES 14K WHITE GOLD DIAMOND NECKLACE IS COMPRISED OF 3 PRONGS SET ROUND CUT 374 DIAMONDS. TOTAL ESTIMATED DIAMONDS' WEIGHT ARE 15.00 CTS/ THE TPTA; WEIGHT OF THE NECKLACE IS 53.20 GRAMS. CLARITY IS SI1 SI2 I1 COLOR IS H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings "Love Me Not" pair
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn-Limited Edition On Paper. " Portrait Of A Young Man" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy 14 kt White Gold White Tanzanite Necklace
Lady's Fancy 14 kt White Gold White Tanzanite Necklace, Tanzanite approx 2.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Encore - Bronze and Ivory Sculpture by Preiss
Preiss bronze and ivory sculpture, Encore. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Manhatten Skyline - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Manhatten Skyline". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "Farinata". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Melting Clock
Dali sculpture, "Melting Clock", is cast in bronze and layered in 24K gold. Sculpture measures approx. 6.5". Comes with foundry assay. Some variations in marble might occur.
Art
Houses Parliament - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Houses Parliment". Comes with COA. Approx. size: 20"x24". HC-0045
Fine Jewelry
Lady's Fancy Silver Aquamarine, White Sapphire & Pigeon Blood Ruby Ring.
Lady's Fancy Silver Aquamarine, White Sapphire & Pigeon Blood Ruby Ring. Aquamarine approx 12 ct, White Sapphire approx 1 ct & Ruby approx .50 ct. (191DD)
General - Prints/Reproductions
Franz Halls Signed Limited Edition - The Laughin Cavalier
Marc Chagall Signed Limited Edition, "The Laughin Cavalier". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Fancy 14K Brown Pearl Earrings
Fancy pair of 14K gold, brown pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10x8". In excellent condition, comes unframed
General - Prints/Reproductions
"The Juggler" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "TOWARDS THE TREE OF LAW" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Exquisite Pencil Signed Original Icart Lithograph
Exquisite in the manner of Icart lithograph bearing the signature, unframed, mint condition, dimensions are approximately 7.5X9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JILL" CIRCA 1969. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Citrine Circle-Of-Love Necklace
10K Gold Citrine Circle-Of-Love Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - SignedLimited Edition On Paper. "Bureaucrat And Sewing Machine" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt White Gold White Tanzanite Necklace
Lady's Fancy 14 kt White Gold White Tanzanite Necklace, Tanzanite approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Kora- Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Kora. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 20"x5"x10".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Second Before Awakening - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Second Before Awakening". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "In Dark Limbo". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Japanese Bridge - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Japanese Bridge". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Very Fancy 14 kt White Gold Antique Style White Diamond Ring
Lady's Very Fancy 14 kt White Gold Antique Style White Diamond Ring, Diamonds approx 1.047 cts, VS2 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Paris
Salvador Dali signed limited edition, " PARIS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Silver Pearl Earrings
Fancy pair of 14K gold, Silver pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:11"x12".
General - Prints/Reproductions
"Couple In Paris" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "THE SEDUCERS" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Signed Original Lithograph by Salvador Dali
Beautiful lithograph in the manner of Salvador Dali bearing the signature, mint condition, unframed, dimensions are approximately 14x10.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BOATS AT DUSK" CIRCA 1969. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Gold Amethyst Circle-Of-Love Necklace
10K Gold Amethyst Circle-Of-Love Necklace
Fine Jewelry
GENT'S 14K WHITE GOLD BLUE SAPPHIRE AND DIAMOND RING
THIS GENTS 14K WHITE GOLD BLUE SAPPHIRE AND DIAMOND RING IS COMPRISED OF 4 PRONGS SET ROUND CUT 26 DIAMONDS AND INVESIBALE SET PRINCESS CUT 12 BLUE SAPPHIRES. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 1.00CTS, THE TOTAL WEIGHT OF THE RING IS 10.50 GRAMS. CLARITY SI1 SI2 I1 COLOR H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "Tear Drops"
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "The Happy Unicorn" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Unique Style 14 kt White Gold Pink Sapphire Necklace
Lady's Fancy Unique Style 14 kt White Gold Pink Sapphire Necklace, Sapphires approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Desmona - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, "Desmona". Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size:13x23x8.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Slave Market Bust Of Voltaire - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Slave Market Bust Of Voltaire". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Minotaur". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
La Grenouillere - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "La Grenouilere". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"Picture With An Archer" - Kandinsky - Limited Edition
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Limited Edition on canvas. Approx. size: 29inx33in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Roussicion
Salvador Dali signed limited edition, " Roussicion". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Pearl Earrings
Fancy 14K gold, pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:12"x15".
General - Prints/Reproductions
"Circus Horse and Rider" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "DANTE PURIFIED" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Georgeous Signed Limited Edition Original Lithograph by Artist Salvador Dali
Georgeous lithograph in the manner of Salvador Dali, bearing the signature in a limited edition. Unframed, mint condition, dimensions are approximately 14x10.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "ALAMITOS BAY MARINA" CIRCA 1970. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Citrine Heart 10K Gold Necklace
Citrine Heart 10K Gold Necklace
Fine Jewelry
Lady's Beautiful Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#87 - French Kitty Watch
French Kitty Watch
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Das Meerweibchen" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Unique Style 14 kt White Gold Pink Sapphire Necklace
Lady's Fancy Unique Style 14 kt White Gold Pink Sapphire Necklace, Sapphires approx 3.25 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Oriental Fan Dancer - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, Oriental Fan Dancer. Base signed, carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x6"x4.5".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Old Masters
Sleep - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Sleep". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Wood and the Suicide". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- St John on the Cross
Dali sculpture, "St John on the Cross" , is cast in bronze and layered in 24K gold. Sculpture measures approx. 4". Comes with foundry assay. Some variations in marble might occur.
Art
Nympheas - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Nympheas". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Very Fancy 14 kt White Gold Antique Style White Diamond Ring
Lady's Very Fancy 14 kt White Gold Antique Style White Diamond Ring, Diamonds approx 1.04 cts, VS2 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Ecuyere Et Cheval
Salvador Dali signed limited edition, " Ecuyere Et Cheval". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Green Pearl Earrings
Fancy pair of 14K gold, green pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x15". In excellent condition, comes unframed
General - Prints/Reproductions
"The Birthday" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
ORIGINAL SIGNED WOODBLOCK BY SALVADOR DALI
WOODBLOCK IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE TITLED "ARACHNE" COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 16X10.
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Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Original Signed Limited Edition Lithograph by Marc Chagall
Beautiful lithograph in the manner of Marc Chagall bearing the signature in a limited edition, mint condition, unframed, dimensions are approximately 13x9.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "TREE ON THE BAY" CIRCA 1971. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
3-Stone Created Ruby 10K Gold Necklace
3-Stone Created Ruby 10K Gold Necklace
Fine Jewelry
Lady's Georgous Tiffany Sterling Silver Bracelet
Lady's Georgous Tiffany Sterling Silver Bracelet, Shape "Heart"
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Das Meerweibchen ll" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Neckalce
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Neckalce, Emerald approx 1 ct.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
The Favorite - Bronze and Ivory Sculpture by Chiparus
Chiparus bronze and ivory sculpture, The Favorite. Base signed , carved ivory beautiful painted patina bronze, sits on a marble/onyx base. Some variations of marble and patina might occur. Approx size: 22"x15".
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Soft Construction With Boiled Beans - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Soft Construction With Boiled Beans". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Original Hand Signed Lithograph by artist Marc Chagall
In the Manner of Chagall Original Lithographs, Bearing the signature, Beautifully framed and comes with COA. Approx. size:17" x 13".
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "The Seducers". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Poppies - Monet - Limited Edition on Canvas\
Claude Monet Limited Edition on canvas, "Poppies". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Goddess Flower
Salvador Dali signed limited edition, "Goddess Flower". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Citrine Pearl Earrings
Fancy pair of 14K gold, citrine pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:12"x15".
General - Prints/Reproductions
"Me and the Village" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "UPWARD", EDITION IS 24 OF 95 , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Beautiful Original Signed Limited Edition Lithograph by Marc Chagall
Stunning in the manner of Marc Chagall bearing the signature in a limited edition, mint condition, unframed, dimensions are approximately 13x9
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "PATIO" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade Large Statue "The God of Happiness"
Siberian Jade Large Statue "The God of Happiness", this is one of the 3 wisemen. All hand carved from one solid piece of jade. Very detailed. Approx dimensions are 30x13x8 in. In house
Fine Jewelry
Aquamarine Solitaire 10K Gold Necklace
Aquamarine Solitaire 10K Gold Necklace
Fine Jewelry
GENT'S 14K WHITE GOLD DIAMOND RING
THIS GENT'S 14K WHITE GOLD DIAMOND RING IS COMPRISED OF 4 PRONGS SET ROUND CUT 1 DIAMOND AND CHANNEL SET 46 ROUND BRILLIANT CUT DIAMONDS. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 2.50CTS. THE TOTAL WEIGHT OF THE RING IS 13.70 GRAMS. CLARITY IS SI1 SI2 I1 AND COLOR IS H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Surrealist Gondola" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Emerald Neckalce
Emerald approx 1 ct.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Soft Watch - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Soft Watch". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno), "On Greyon's Back". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Poppies Argenteuil - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Poppies Argeteuil". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Fancy 14kt White Gold White Sapphire & Black Diamond Ring
Lady's Fancy 14kt White Gold White Sapphire & Black Diamond Ring, White Sapphires approx 2 cts, Black Diamonds approx 1 ct, VS1 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -TAUROMACHIE V
Salvador Dali signed limited edition, "TAUROMACHIE V". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Yellow Pearl Earrings
Fancy pair of 14K gold, Yellow pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:12"x15".
General - Prints/Reproductions
"Doves Over The City" - Chagall - Limited Edition
Marc Chagall (7 July 1887 – 28 March 1985), was a Russian–French artist, associated with several key art movements and was one of the most successful artists of the twentieth century. He created a unique career in virtually every artistic medium, including paintings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Chagall's haunting, exuberant, and poetic images have enjoyed universal appeal, with art critic Robert Hughes referring to him as "the quintessential Jewish artist of the twentieth century."As a pioneer of modernism and one of the greatest figurative artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known paintings of our time. According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists." For decades he "had also been respected as the world's preeminent Jewish artist." Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the United Nations, and the Jerusalem Windows in Israel. He also did large-scale paintings, including the ceiling for the Paris Opéra. His most vital work was made on the eve of World War I, when he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his visions of Eastern European Jewish folk culture. He spent his wartime years in Russia, becoming one the country's most distinguished artists and a member of the modernist avante-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922. Limited edition Limited Edition. Plate . Edition number varies. Approx. size: 19in x 22in
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "RAIN". EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Beautiful Original Signed Lithograph by Joan Miro
Beautiful lithograph in the manner of Joan Miro bearing the signature, mint condition, unframed dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "DIANE" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Collectibles
Siberian Jade "Bonsai Flowers with vase"
Real Jade hot pink & light lavender Bonsai Flowers on vase, dimensions are approx 12x10 in.
Fine Jewelry
Smoky Topaz 10K Gold Necklace
Smoky Topaz 10K Gold Necklace
Fine Jewelry
GENT'S 14K WHITE GOLD RUBY AND DIAMOND RING
THIS GENTS 14K WHITE GOLD RUBY AND DIAMOND RING IS COMPRISED OF CHANNEL SET BAGUETTE CUT 54 DIAMONDS, 2 BAZEL SET DIAMONDS AND INVESIBLE SET PRINCESS CUT 32 RUBIES. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 1.00CTS, THE TOTAL WEIGHT OF THE RING IS 12.50 GRAMS. CLARITY IS SI1 SI2 I1 COLOR H I. COMES WITH APPRAISAL
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fashion Jewelry
Unisex Fancy Tiffany Silver Band Ring
Unisex Fancy Tiffany Silver Band Ring
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Die Krote" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Spinning Man - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Spinning Man". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Siren of the Dream". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Billy Goat
Dali sculpture, "Billy Goat", is cast in bronze and layered in 24K gold. Sculpture measures approx. 5.5". Comes with foundry assay. Some variations in marble might occur.
Art
Poppy Field Giverny - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Poppy Field At Giverny". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Salvador Dali Signed Limited Edition -VENICE
Salvador Dali signed limited edition, "VENICE". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Black Pearl Earrings
Fancy pair of 14K gold, black pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x15". In excellent condition, comes unframed
Art
LIMITED EDITION LITHOGRAPH BY ROY LICHENSTEIN
LITHOGRAPH IN THE MANNER OF ROY LICHTENSTEIN IN A LIMITED EDITION TITLED "BOWL OF LEMONS" EDITION IS 27 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Stunning Signed Original Lithograph by Artist Joan Miro
Stunning lithograph in the manner of Joan Miro bearing the signature, unframed, mint condition dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RAGAZZE ALLA SPIAGGIA" CIRCA 1968. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade "Tangerine Tree"
Jade "Tangerine Tree", dimensions are approx 10x8 in.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Created Ruby & Diamond 10K Gold Necklace
Created Ruby & Diamond 10K Gold Necklace
Fine Jewelry
LADIES 14K WHITE GOLD RUBY AND DIAMOND BRACELET
THIS LADIES 14K WHITE GOLD RUBY AND DIAMOND BRACELET IS COMPRISED OF 4 PRONGS SET ROUND CUT 176 DIAMONDS AND 238 PRINCESS CUT RUBIES. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 4.00CT. THE TOTAL WEIGHT OF THE BRACELET IS 34.80 GRAMS. CLARITY IS SI1 SI2 I1 COLOR H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany and Co. Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fashion Jewelry
Unisex Fancy Tiffany Silver Band Ring
Unisex Fancy Tiffany Silver Band Ring
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Le Vetement" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace, Sapphire approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
St. George - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "St. George". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Avaricious". Comes with COA and beautifully framed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Terrace Seaside - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Terrace Seaside". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"La Rue St. Rustique"- Maurice Utrillo - Limited Edition
Born Maurice Valadon on December 25, 1883 (Christmas Day) in the Montmartre quarter of Paris, France, he is one of the few famous painters of Montmartre who was actually born there. With no real training, other than what his mother taught him, he drew and painted what he saw all around him in Montmartre. He presented strange landscapes which delighted the man in the street and astonished the connoisseur. These pictures inspired many artists to re-examine their world and, instead of turning to abstraction, once again to re-create reality. Critics only took note of him after 1910. By 1920, he had become a legendary figure, internationally known. In 1929, the French government awarded him the Cross of the Legion of Honor. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - TAUROMACHIE III
Salvador Dali signed limited edition, "TAUROMACHIE III". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Gray Pearl Earrings
Fancy pair of 14K gold, gray pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
Art
LIMITED EDITION LITHOGRAPH BY CLAUDE MONET
LITHOGRAPH IN THE MANNER OF CLAUDE MONET IN A LIMITED EDITION TITLED "STILL LIFE WITH PEARS AND GRAPES" EDITION IS 22 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSONS ARE APPROXIMATELY 18X20
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Beautiful Original Lithograph by Joan Miro
Beautiful lithograph in the manner of Joan Miro, mint condition, unframed dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LAGUNA" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Peridot Pendant & Chain Necklace in 10K Yellow Gold
Peridot Pendant & Chain Necklace in 10K Yellow Gold
Fine Jewelry
LADIES 14K WHITE GOLD DIAMOND NECKLACE
THIS LADIES 14K WHITE GOLD DIAMOND NECKLACE IS COMPRISED OF 3 PRONGS SET ROUND CUT 196 DIAMONDS. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 12.00CTS. THE TOTAL WEIGHT OF THE NECKLACE IS 33.20 GRAMS. CLARITY IS SI1 SI2 COLOR IS H I. COMES WITH APPRAISAL
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fine Jewelry
#89 - Disney Watch
Disney Watch
Fashion Jewelry
Unisex Fancy Tiffany Silver Bracelet
Unisex Fancy Tiffany Silver Bracelet
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Assumpta Canaveral" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Pink Sapphire Necklace, Sapphire approx 2 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Still Life - Fast Moving - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Still Life - Fast Moving". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Golden Age". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Medium - Sculptures
Original Limited Edition 24K Gold Layered Bronze Salvador Dali - Unknown Title
Salvador Dali original limited edition 24K gold layered bronze sculpture .
Art
The River - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "The River". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Very Fancy 14 kt White Gold Royal Queen Diamond Pendant
Lady's Very Fancy 14 kt White Gold Royal Queen Diamond Pendant, Diamonds approx 1.22 cts, VS1 color H.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - NORMANDIE
Salvador Dali signed limited edition, "NORMANDIE". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Golden Pearl Earrings
Fancy pair of 14K gold, golden pearl earrings approximately 8-10 MM
General - Direct from the Artist
Michael Schofield Original Oil on Canvas
Michael Schofield original oil on canvas. Signed . Approx. size:20"x16".
Art
LIMITED EDITION LITHOGRAPH
LITHOGRAPH IN THE MANNER OF UNKNOWN IN A LIMITED EDITION EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSONS ARE APPROXIMATELY 18X21
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Stunning Signed Original Lithograph by Artist Joan Miro
Stunning lithograph in the manner of Joan Miro bearing the signature, unframed, mint condition dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "NORTH LAGUNA" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberain Jade "Lavander Grape Tree"
Jade "Lavander Grape Tree", dimensions are approx 15x13 in.
Fine Jewelry
Created Ruby 10K Gold Necklace
Created Ruby 10K Gold Necklace
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Fine Jewelry
LADIES 14K WHITE GOLD MULTI SAPPHIRE AND DIAMOND NECKLACE
THIS LADIES 14K WHITE GOLD MULTI SAPPHIRE AND DIAMOND NECKLACE IS COMPRISED OF 4 PRONGS SET ROUND CUT 146 DIAMONDS AND 4X3MM OVAL CUT 32 MULTI COLOR SAPPHIRES. TOTAL ESTIMATED DIAMONDS WEIGHTS ARE 5.00CTS. THE TOTAL WEIGHT OF THE NECKLACE IS 18.80 GRAMS. CLARITY IS SI1 SI2 I1 COLOR IS H I. COMES WITH APPRAISAL.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "Dog"
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
Fashion Jewelry
Unisex Stylish "Love Me Not" Tiffany Silver Ring
Unisex Stylish "Love Me Not "Tiffany Silver Ring Size 8
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Quixote V" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace, Tanzanite approx 2.0 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Telephone - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Telephone". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Prodigality". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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Medium - Sculptures
Dali 24K Gold Layered Bronze Sculpture- Thin Man
Dali sculpture, "Thin Man", is cast in bronze and layered in 24K gold. Sculpture measures approx. 9". Comes with foundry assay. Some variations in marble might occur.
Art
Venice at Dusk - Monet - Limited Edition on Canvas
Claude Monet Limited Edition on canvas, "Venice at Dusk". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - VENUS
Salvador Dali signed limited edition, "VENUS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Red Pearl Earrings
Fancy pair of 14K gold, red pearl earrings approximately 8-10 MM
General - Direct from the Artist
Michael Schofield Original Oil on Canvas
Michael Schofield original oil on canvas. Signed . Approx. size:20"x16".
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "ALL SAINTS" EDITION IS 26 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Beautiful Original Lithograph by Joan Miro
Beautiful lithograph in the manner of Joan Miro, mint condition, unframed dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "THE CAPTAIN'S HOUSE" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Smokey Topaz 10K Gold Necklace
Smokey Topaz 10K Gold Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "Apples"
General - Original Works
Original Lithograph by artist William Brice
Lithograph in the manner of William Brice bearing the signature, titled "Untitled" comes with certificate of authenticity, framing available at an additional charge.
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Fashion Jewelry
Lady's Fancy Tiffany Silver Ring
Lady's Fancy Tiffany Silver Ring
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Geological Destiny" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace, Tanzanite approx 2.5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Temptations Of St. Anthony - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Temptations Of St. Anthony". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Greed". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
A Bar At The Follies Bergere - Manet - Limited Edition on Canvas
Edourd Manet Limited Edition on canvas, "A Bar At The Follies Bergere". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Very Fancy 14 kt White Gold Royal Queen Diamond Pendant
Lady's Very Fancy 14 kt White Gold Royal Queen Diamond Pendant, Diamonds approx 1.24 cts, VS1 color H.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - Flower Magician
Salvador Dali signed limited edition, "Flower Magician". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Fancy 14K Golden Yellow Pearl Earrings
Fancy pair of 14K gold, Golden Yellow pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 10"x8". In excellent condition, comes unframed
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "HILLS AND THE BAY OF MOULIN HUET" EDITION 24 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Stunning Signed Original Lithograph by Artist Joan Miro
Stunning lithograph in the manner of Joan Miro bearing the signature, unframed, mint condition dimensions are approximately 15x11
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BLUEBIRD CANYON FROM SUMMIT STREET" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade "Bonsai Flower Tree"
Jade "Bonsai Flower Tree", Red color Jade, dimensions are approx 12x9 in.
Fine Jewelry
Black Onyx Heart 10K Gold Necklace
Black Onyx Heart 10K Gold Necklace
Fine Jewelry
Lady's Beautiful Tiffany Sterling Silver Bracelet
Lady's Beautiful Tiffany Sterling Silver Bracelet
Fashion Jewelry
Men's Tiffany Silver Band Ring
Men's Tiffany Silver Band Ring
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Eucharistic still Life" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace
Lady's Fancy 14 kt Yellow Gold "Heart Shape" Tanzanite Necklace, Tanzanite approx 3.0 cts.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Anthropomorphic Cabinet - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Anthropomorphic Cabinet". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Tree of Punishment". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Manet Painting Monet In His Studio Boat - Manet - Limited Edition on Canvas
Edourd Manet Limited Edition on canvas, "Manet Painting Monet In His Studio Boat". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - The Agony of Love
Salvador Dali signed limited edition, "The Agony of Love". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Golden Yellow Pearl Earrings
Fancy pair of 14K gold, Golden Yellow pearl earrings approximately 8-10 MM
General - Direct from the Artist
Original Oil on Canvas Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Canvas. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 8"x10". In excellent condition, comes unframed
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "DREAMING". EDITION IS 22 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Exquisite Original Lithograph by Artist Swimmer
Lithograph in the manner of Swimmer, unframed, mint condition dimensions are approximately 24X18
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW FROM THE STUDIO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberain Jade "Tangerine Tree"
Jade "Tangerine Tree", Dimensions are approx 15x12 in.
Fine Jewelry
3-Stone Created Pink Sapphire Heart 10K Gold Necklace
3-Stone Created Pink Sapphire Heart 10K Gold Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "Heart"
Fashion Jewelry
Lady's Fancy Tiffany Silver Hoops
Lady's Fancy Tiffany Silver Hoops
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. "Pierrots Funeral" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace, Sapphire approx 3 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Disentigration Of The Persistence Of Memory - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Disentigration Of The Persistence Of Memory". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Lustful". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture- Helping Hand
Picasso sculpture, "Helping Hand", is cast in bronze then layered with beautiful 24K gold. Comes with foundry assay. Some variations in marble might occur.
Art
The Fifer - Manet - Limited Edition on Canvas
Edourd Manet Limited Edition on canvas, "The Fifer". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Warhol "Skulls" Limited Edition
Warhol "Skulls" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - ARLEQUIN
Salvador Dali signed limited edition, " ARLEQUIN". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy 14K Golden Yellow Pearl Earrings
Fancy pair of 14K gold, Golden Yellow pearl earrings approximately 8-10 MM
General - Direct from the Artist
Michael Schofield Original Oil on Canvas
Michael Schofield original oil on canvas. Signed . Approx. size:20"x16".
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR BEARING THE SIGNATURE DALI IN A LIMITED EDITION TITLED "ECUYERE ET CHEVAL" EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
Art
Original Signed Lithograph by Artist Ed Ruscha
Lithograph in the manner of Ed Ruscha titled "Ace" 1962, collection museum of contempary art San Diego, unframed in mint condition dimensions are approximately 18x15
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BLUEBIRD CANYON" CIRCA 1973. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Blue Topaz 10K Yellow Gold Necklace
Blue Topaz 10K Yellow Gold Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Earrings
Fine Jewelry
#97 - Pearl Necklace
Pearl Necklace
Fashion Jewelry
Lady's Fancy Tiffany Silver Band
Lady's Fancy Tiffany Silver Band
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. "Destiny" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The First Study For The Madonna - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The First Study For The Madonna". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Two Crowds of the Lustful". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Agneau Bleu - Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "Agneau Bleu". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - ALSACE
Salvador Dali signed limited edition, "ALSACE". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy Black Diamond Earrings
Pair of fancy black diamond earrings set in fine sterling silver, black diamond is approximately 2 CT
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x10". In excellent condition, comes unframed
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "LANDSCAPE NEW MENTON" EDITION 23 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
Art
Original Signed Lithograph by Roy Lichtenstein
Lithograph in the manner of Roy Lichtenstein bearing the signature titled "Cathedral Series #4" mint condition, unframed dimensions are approxiately 18x15
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LAGUNA PATIO" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Citrine & 10K Yellow Gold Necklace
Citrine & 10K Yellow Gold Necklace 4x6 mm Faceted Oval Cut Genuine Citrine 1 White Topaz Accent Stone Pendant Size: 13 x 6 mm (LxW) Chain Size: 18" Ring Spring Clasp
Fine Jewelry
Lady's Beautiful Tiffany Sterling Silver Two tone Bracelet
Lady's Beautiful Tiffany Sterling Silver Two tone (Gold) Bracelet
Fashion Jewelry
Unisex Fancy "Love" Tiffany Silver Ring
Unisex Fancy "Love" Tiffany Silver Ring
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. " A Hayrick Near A Farm" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace, Sapphire approx 4 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Invisible Man - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Invisible Man". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Virgil's Last Words". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Animaux Fabuleux- Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "Animaux Fabuleux". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Fancy 14 kt White Gold Heart Shaped Diamond Pendant
Lady's Fancy 14 kt White Gold Heart Shaped Diamond Pendant, Diamonds approx 1.02 cts, VS2 color G.
General - Prints/Reproductions
Salvador Dali Signed Limited Edition - APOLLON
Salvador Dali signed limited edition, "APOLLON". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Fine Jewelry
Fancy Black Diamond Earrings
Pair of fancy black diamond earrings set in fine sterling silver, black diamond is approximately 1.5 CT
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x15". In excellent condition, comes unframed
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "THE POINT NEUF" EDITION 28 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
Art
Original Signed Lithograph by artist Ellsworth Kelly
Lithograph in the manner of Ellsworth Kelly bearing the signature titled "Red Blue Green" mint condition unframed dimensions are approximately 18x15
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "FLOWER POTS" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Blue Topaz 10K Yellow Gold Necklace
Blue Topaz 10K Yellow Gold Necklace Checkerboard Cut Genuine Blue Topaz 3 White CZ Accent Stone Metal Type: Solid Yellow Gold Metal stamp: 10K Pendent Size: 13 x 6 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
Fashion Jewelry
Lady's Beautiful Tiffany Silver Bracelet
Lady's Beautiful Tiffany Silver Bracelet
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. " St. John" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace
Lady's Fancy Style 14 kt Yellow Gold White Sapphire Necklace, Sapphire approx 5 cts.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Metamorphosis Of Narcissus - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Metamorphosis Of Narcissus". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Divine Forest". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture - St. John On The Cross
Dali sculpture, "St. John On The Cross", is cast in bronze then layered with beautiful 24K gold. Comes with foundry assay. Some variations in marble might occur. Approx. size: 12"x3"x3".
Art
Les Premiers Animaux- Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "Les Premiers Animaux". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-THE RED OVAL
Wassily Kandinsky Limited Edition on paper, "The Red Oval".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Oil on Board Hand Signed by Michael Schofield
This is a Michael Schofield hand signed Original Oil on Board. Artist Michael Schofield was born in Orlando, Florida in 1947. In that same year (1947), his family moved to Oakland, California. In his sophomore year at Oakland High School, under the private tutelage of Jackie Jensen (brother of internationally recognized watercolorist Robert Jensen), Schofield began to develop his skill in watercolor painting. Later Schofield would travel to Woodstock, New York, to study with renowned watercolorist John Pike, a contemporary of Robert Wood. Two years later, he opened his own studio (in Tennessee) where he says, "he taught, painted and starved." In 1980, Schofield returned to California and established a silkscreen printing studio. Approx. size: 12"x15". In excellent condition, comes unframed
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY ALBERTO GIACOMETTI
LITHOGRAPH IN THE MANNER OF ALBERTO GIACOMETTI BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "ANNETTE" EDITION 22 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LANDSCAPE" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Blue Topaz & 10K Yellow Gold Necklace
Blue Topaz & 10K Yellow Gold Necklace
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "4 Leaf Clover"
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fashion Jewelry
Lady's Stylish Tiffany Heart Shape Pendant Bracelet
Lady's Stylish Tiffany Heart Shape Pendant Bracelet
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "Christ And His Disciples" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt White Gold "Heart" Blue Sapphires & Diamond Necklace
Lady's Fancy 14 kt White Gold "Heart" Blue Sapphires & Diamond Necklace, Sapphires approx 1.5 cts, Diamonds approx 1 ct, VS1, color G.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Persistence Of Memory - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Persistence Of Memory". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Dante and Beatrice". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Saint Julien- Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "Saint Julien". Comes with COA. Approx. size: 20"x24". HC-0045
Fashion Jewelry
Lady's Fancy 14 kt White Gold Heart Shaped Diamond Pendant
Lady's Fancy 14 kt White Gold Heart Shaped Diamond Pendant, Diamonds approx 1.05 cts, VS2 color G.
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-IN BLUE
Wassily Kandinsky Limited Edition on paper, "IN BLUE".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
SACRED HEART OF JESUS LITHOGRAPH
LITHOGRAPH IN THE MANNER OF UNKNOWN, TITLED "SACRED HEART OF JESUS" BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW FROM TEMPLE HILLS" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
10K Yellow Gold Created Ruby Heart Necklace
10K Yellow Gold Created Ruby Heart Necklace
Fashion Jewelry
Unisex Fancy Tiffany Sterling Silver Bracelet
Unisex Fancy Tiffany Sterling Silver 9.25 Bracelet
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Prinz And Prinzessin" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
Fine Jewelry
Lady's Fancy 14 kt Yellow Gold "Heart" Rose Sapphires & Diamond Necklace
Lady's Fancy 14 kt Yellow Gold "Heart" Rose Sapphires & Diamond Necklace, Sapphires approx 1 ct, Diamonds approx 1.25 ct, VS1, color G.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Sacrement Of The Last Supper - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Sacrement Of The Last Supper". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Dante's Repentance". Comes with COA and beautifully framed.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Spingendes Pferd- Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "Springendes Pferd". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Warhol "Chairman Mao" Limited Edition
Warhol "Chairman Mao" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-The Great Gate of Kiev
Wassily Kandinsky Limited Edition on paper, "The Great Gate of Kiev".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SACRED HEART OF MARY LITHOGRAPH
LITHOGRAPH IN THE MANNER OF UNKNOWN, TITLED "SACRED HEART OF MARY" BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BLUE BIRD CANYON" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
Fine Jewelry
#98 - Coral Necklace
Coral Necklace
Fashion Jewelry
Unisex Fancy Tiffany Silver Bracelet
Unisex Fancy Tiffany Silver Bracelet
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "Can can Dancer" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
The Spectre Of Sex Appeal - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "The Spectre Of Sex Appeal". Comes with COA. Approx. size: 20"x24". HC-0045
Art
ORIGINAL HAND SIGNED SALVADOR DALI
IN THE MANNER OF SALVADOR DALI BEARING THE SIGNATURE, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Dante Re-Awakes". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Dali Limited Edition 24K Gold Layered Bronze Sculpture- Nostalgia Atomica
Dali sculpture, "Nostalgia Atomica",is cast in bronze then layered with beautiful 24K gold. Comes with foundry assay. Some variations in marble might occur.
Art
The Yellow Cow- Marc - Limited Edition on Canvas
Franz Marc Limited Edition on canvas, "The Yellow Cow". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Small World II
Wassily Kandinsky Limited Edition on paper, "Small World II".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil on Canvas
Michael Schofield original oil on canvas. Signed . Approx. size:20"x16".
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "THE RED OVAL", EDITION IS 22 OF 95 , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LAGUNA WITH MOON" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Ruby Heart 10K Gold Necklace
8x8 mm Checkerboard Heart Cut Lab Created Ruby 2 White CZ Accent Stone Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 14 x 8 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet, Shape "Heart"
Fashion Jewelry
Unisex Fancy Tiffany Silver Bracelet
Unisex Fancy Tiffany Silver Bracelet
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Sigmund Freud" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Tuna Fishing - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Tuna Fishing". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Towards the Tree of Law". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
All Saints I 1911 - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "All Saints I 1911". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Small World III
Wassily Kandinsky Limited Edition on paper, "Small World III".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "DECISIVE PINK ", EDITION IS 28 OF 95 , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Exquisite Original Signed Lithograph by Artist Pable Picasso
Exquisite lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "VIEW FROM THE VICTOR HUGO" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Created Pink Sapphire 10K Gold Necklace
7x6 mm Checkerboard Cushion Cut Created Pink Sapphire 3 White CZ Accent Stone Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 14 x 6 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp "Solid 10K Gold" Pedant & Chain - "Not" Plated Base Metals
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Necklace
Lady's Fancy Tiffany Sterling Silver Bracelet
Fashion Jewelry
Lady's Fancy "Love Heart" Tiffany Silver Necklace
Lady's Fancy "Love Heart" Tiffany Silver Necklace
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Warrior" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Old Masters
Village - Dali - Limited Edition on Canvas
Salvador Dali Limited Edition on canvas, "Village". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Dante Purified". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Arch and Point - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Arch and Point". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-UPWARD
Wassily Kandinsky Limited Edition on paper, "UPWARD".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "45", EDITION IS 22 OF 95 , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Beautiful Original Signed Lithograph by Pablo Picasso
Beautiful lithograph in the manner of Pablo Picasso bearing the signature, unframed, mint condition, dimensons are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MAIN BEACH" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
10K Yellow Gold Created Sapphire Pendant & Chain Necklace
10K Yellow Gold Created Sapphire Pendant & Chain Necklace Gem Type: Created Blue Sapphire Gem Cut: 6 x 4 mm Faceted Oval Cut Accent Gem: 1 White CZ Setting Type: Pedant & Chain Necklace Metal Type: Solid Yellow Gold Metal stamp: 10K Pendent Size: 12.5 x 6 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Necklace
Lady's Fancy Tiffany Sterling Silver Necklace
Fashion Jewelry
Lady's Fancy Style Tiffany Silver Necklace
Lady's Fancy Style Tiffany Silver Necklace
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Die Sandmannchen" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The Scream - Munch - Limited Edition on Canvas
Edvard Munch Limited Edition on canvas, "The Scream". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Reign of the Penitents". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Around The Circle - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Around The Circle". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Yellow Red and Blue
Wassily Kandinsky Limited Edition on paper, "Yellow Red and Blue".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR BEARING THE SIGNATURE DALI IN A LIMITED EDITION TITLED "PARIS" EDITION IS 30 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
Stunning Original Signed Lithograph by Pablo Picasso
Stunning lithograph in the manner of Pablo Picasso bearing the signature, mint condition, unframed, dimensions are approximately 13x10
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MOSS POINT" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Black Jade "Bull" with Stand
Siberian Black Jade "Bull" with Stand, approx dimensions 4x10x6 in. In house
Fine Jewelry
Genuine Opal Heart Pendant Necklace in 10K Gold
Genuine Opal Heart Pendant Necklace in 10K Gold Genuine 6 mm Heart Cut Opal 1 White CZ Accent Stone Metal Type: Solid Yellow Gold Metal stamp: 10K Pendent Size: 13 x 6 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Necklace
Fashion Jewelry
Lady's Fancy Cross Pendant Tiffany Silver Necklace
Lady's Fancy Cross Pendant Tiffany Silver Necklace
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Junge Entlein" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Moulin Rouge - Lautrec - Limited Edition on Canvas
Henri de Toulouse Lautrec Limited Edition on canvas, "Moulin Rouge". Comes with COA. Approx. size: 20"x24". HC-0046
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Virgil's Admonishment". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Blue Circle - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Blue Circle". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"Konigstien" - Kirchner - Limited Edition on canvas
Ernst Ludwig Kirchner was born on May 6, 1880, in Aschaffenburg, Germany. After years of travel, his family settled in Chemnitz in 1890. From 1901 to 1905 he studied architecture at the Dresden Technische Hochschule, and pictorial art in Munich at the Kunsthochschule and at an experimental art school established by Wilhelm von Debschitz and Hermann Obrist. While in Munich he produced his first woodcuts; the graphic arts were to become as important to him as painting. At that time he was drawn to Neo-Impressionism as well as to the old masters. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Nature Study from Murnau
Wassily Kandinsky Limited Edition on paper, "Nature Study from Murnau".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
BEAUTIFUL LIMITED EDITION LITHOGRAPH BY VINCENT VAN GOGH
LITHOGRAPH IN THE MANNER OF VINCENT VAN GOGH IN A LIMITED EDITION TITLED "TERRACE OF THE CAFE" EDITION IS 24 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE A PPROXIMATELY 18X20.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "ELEONOR'S SUN ROOM" CIRCA 1974. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
White Topaz 10K Yellow Gold Necklace
White Topaz 10K Yellow Gold Necklace 5x3 mm Faceted Oval Cut Genuine 1 White CZ Accent Stone 10K Yellow Gold Pedant & Chain Necklace Metal Type: Solid Yellow Gold Metal stamp: 10K Pendent Size: 22.6 mm x 12.7 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Necklace
Lady's Fancy Tiffany Sterling Silver Necklace, Shape "Heart"
Fine Jewelry
#100 - Coral Pendant
Coral Pendant
Fashion Jewelry
Lady's Stylish Charms Tiffany Silver Necklace
Lady's Stylish Charms Tiffany Silver Necklace
General - Old Masters
Salvador Dali- Signed Limited Edition
Salvador Dali- Signed Limited Edition On Paper. "Aerican Trotting" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
In The Well Of The Great Wave - Katsushika Hokusai - Limited Edition on Canvas
Katsushika Hokusai Limited Edition on canvas, "In The Well Of The Great Wave". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Power's of Soul". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Composition No 7 - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Composition No. 7". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-GNOMUS
Wassily Kandinsky Limited Edition on paper, "GNOMUS".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
LIMITED EDITION LITHOGRAPH BY WASSILY KANDINSKY
LITHOGRAPH IN THE MANNER OF WASSILY KANDINSKY TITLED "AROUND THE CIRCLE", EDITION IS 29 OF 95 , COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "PEACE", DIMENSIONS ARE APPROXIMATELY 14X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MOSS POINT EUCALYPTUS" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Green Jade "Boat"
Siberian Green Jade "Boat", The best quality of Siberian Jade used to carv this boat. Approx dimensions 14x16. In house
Fine Jewelry
Emerald 10K Gold Cross Necklace
Lab Created Emerald 10K Gold Cross Necklace Brilliant Round Cut Lab Created Emerald 1 White CZ Accent Stone 10K Yellow Gold Cross Pedant & Chain Necklace Metal Type: Solid Yellow Gold Metal stamp: 10K Pendent Size: 19.5 x 11 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Necklace
Lady's Fancy Tiffany Sterling Silver Necklace, "Love Me Not"
Fashion Jewelry
Lady's Fancy Tiffany Silver Necklace
Lady's Fancy Tiffany Silver Necklace approx 16 inches long.
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "A Group Of Large Trees" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Ciphers and Constellations - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Ciphers and Constellations ". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Neglectful". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Composition X
Wassily Kandinsky Limited Edition on paper, "Composition X".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
ELEGANT SIGNED LIMITED EDITION LITHOGRAPH BY PIERRE AUGUSTE RENOIR
LITHOGRAPH IN THE MANNER OF PIERRE AUGUSTE RENOIR BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "SEINE AT CAMPROSAY" EDITION 25 OF 95 COMES WITH CERITIFCATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "TORRERO", DIMENSIONS ARE APPROXIMATELY 21X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "OLD TRUCK" CIRCA 1972. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Multi Color Jade "Horses Mountain"
Siberian Multi Color Jade "Horses Mountain", approx dimensions 13x25 in. In house
Fine Jewelry
Blue Topaz 10K Yellow Gold Necklace
4x6 mm Faceted Oval Cut Genuine Blue Topaz 10K Yellow Gold Cross Pedant & Chain Necklace Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 13 x 6.5 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp "Solid 10K Gold" Pedant & Chain - "Not" Plated Base Metals
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Earrings
Lady's Fancy Tiffany Sterling Silver Necklace, Shape "Heart"
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "The Blind Tobit With Goat" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Personages, Birds, Star - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "Personages, Birds, Star ". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Guiding Angel". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Composition VIII - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Composition VIII". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Around the Circle
Wassily Kandinsky Limited Edition on paper, "Around the Circle".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
STUNNING SIGNED LIMITED EDITION LITHOGRAPH BY SALVADOR DALI
STUNNING LITHOGRAPH IN THE MANNER OF SALVADOR BEARING THE SIGNATURE DALI IN A LIMITED EDITION TITLED "ROUSSICION" EDITION IS 29 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WAR" DIMENSIONS ARE APPROXIMATELY 13X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "STUDIO VISTA" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Mojolica Style Carafe
Mojolica Style Carafe, approx dimensions are 12x9 in. In house
Fine Jewelry
Smoky Topaz Sterling Silver and Gold Necklace
Smoky Topaz Sterling Silver and Gold Necklace Gem Type: Genuine Smoky Topaz Gem Cut: Square Cabochon Cut Gem Size: 7 x 7 mm Accents: 6 Brilliant Round Cut CZ' Setting Style: Filigree Style Pendant and Chain Necklace Metal Type: Sterling Silver & Yellow Gold Metal Stamp: .925/10k Pendant Size: 12.6 x 7 mm (LxW) Chain Size: 14k Gold Fill 18" Chain
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Necklace
Lady's Fancy Tiffany Sterling Silver Necklace
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "Jacob's Dream" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The Nightingale's Song - Miro - Limited Edition on Canvas
Joan Miro Limited Edition on canvas, "The Nightingale's Song ". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Neglectful Meets Violent Death". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Composition X - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Composition X". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Composition VIII
Wassily Kandinsky Limited Edition on paper, "Composition VIII".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY LOUIS ICART
LITHOGRAPH IN THE MANNER OF ICART BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "MISS LIBERTY". EDITION IS 25 OF 95, COMES WITH CERTIFICATE OF AUTHENTICITY, BEAUTIFULLY FRAMED AND MATTED, DIMENSIONS ARE APPROXIMATELY 18X20.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "DESIGN FOR PICADOR" DIMENSIONS ARE APPROXIMATELY 19.5X16.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "STUDIO VISTA - DUSK" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
3 Lavender Heart CZ 10K Gold Necklace
3 Lavender Heart CZ 10K Gold Necklace Gem Type: 3 Lavender CZs Gem Cut: Faceted Heart Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 22 x 5 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "French Can Can" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Daphnis Discovers Chloe- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Daphnis Discovers Chloe". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Law of Climbing". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Icart Limited Edition 24K Gold Layered Bronze Sculpture- Illusion
This sculpture is cast in bronze then layered with beautiful 24K gold. By Icart, "Illusion". This piece comes with foundry assay. Some variations in marble might occur. Approx. size: 24"x8"x7".
Art
Couple Riding - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Couple Riding". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"St George And The Dragon" - Unknown artist
Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-UNBROKEN
Wassily Kandinsky Limited Edition on paper, "UNBROKEN".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "NOTRE DAME" DIMENSIONS ARE APPROXIMATELY 21X17, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "LAGUNA TERRACE" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian White Jade "Devil Ball"
Siberian White Jade "Devil Ball", Ball has 16 small removable balls inside. Approx dimensions 3x3x3 in. In house
Fine Jewelry
10K Gold & White Heart CZ Necklace
10K Gold & White Heart CZ Necklace Gem Type: White CZ Gem Cut: Faceted Heart Cut Gem Size: 5 x 5 mm Pendant Type: Solitaire Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 10 x 5 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Bracelet
Lady's Fancy Tiffany Sterling Silver Bracelet
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "The Westpoort At Rhenen" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Daphnis- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Daphnis". Comes with COA. Approx. size: 20"x24". HC-0045
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Gaurdians of the Valley of the Princes". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Decisive Pink - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Decisive Pink". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Composition VII
Wassily Kandinsky Limited Edition on paper, "Composition VII".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED RECLING NUDE BEFORE WINDOW" DIMENSIONS ARE APPROXIMATELY 19.5X21.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MAR VISTA TERRACE" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
Lady's Fancy Tiffany Sterling Silver Charm Bracelet
Lady's Fancy Tiffany Sterling Silver Charm Bracelet
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "Cottages Amongst High Trees" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Flight Of The Cicade- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Flight Of The Cicade". Comes with COA. Approx. size: 20"x24". HC-0046
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Eagle of Grace". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Original Limited Edition 24K Gold Layered Bronze Art Deco Chiparus Sculpture - Jazz Dancer
This Chiparus sculpture, "Jazz Dancer", is a limited edition 24K gold layered bronze sculpture.
Art
From Small World - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "From Small World". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-ALL SAINTS
Wassily Kandinsky Limited Edition on paper, "ALL SAINTS".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on Paper by Michael Schofield.
Michael Schofield original Original Watercolor on Paper. Signed. Approx. size:10"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "FEEMS SUR LA PLAGE JOUANT LU" DIMENSIONS ARE APPROXIMATELY 16X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "STUDIO" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade Bracelet (Red)
Siberian Jade Bracelet (Red), approx dimension 3x3 in. In house
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Frontispice- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Frontispice". Comes with COA. Approx. size: 20"x24". HC-0047
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Our Lady of the Annunciation". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Medium - Sculptures
Moreau Limited Edition 24K Gold Layered Bronze Sculpture- Girl On A Swing
This sculpture is cast in bronze then layered with beautiful 24K gold. By Moreau, "Girl On A Swing". This piece comes with foundry assay. Some variations in marble might occur.
Art
From Small Worlds II - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "From Small Worlds II". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-OVERCAST
Wassily Kandinsky Limited Edition on paper, "OVERCAST".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED SEATED WOMAN" DIMENSIONS ARE APPROXIMATELY 22X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JAPANESE GARDEN" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Old Masters
Edouard Manet- Limited Edition
Edouard Manet- Limited Edition On Paper. "The Swallows" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Lamon Discovers Daphnis- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Lamon Discovers Daphnis". Comes with COA. Approx. size: 20"x24". HC-0049
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Proud One". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
From Small Worlds Type A - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "From Small Worlds Type A". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-THE RED SPOT
Wassily Kandinsky Limited Edition on paper, "THE RED SPOT".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "OWL AND A CHAIR OF SEA URCHINS", DIMENSIONS ARE APPROXIMATELY 21.5X20, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JAPANESE GARDEN" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade Bracelet (Black)
Siberian Jade Bracelet (Black), approx dimension 3x3 in. In house
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Woman Of The Future" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Lamon and Drya's Dream- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Lamon and Drya's Dream". Comes with COA. Approx. size: 20"x24". HC-0050
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Ecstatic Visions". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
From Small Worlds Type B - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "From Small Worlds Type B". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"Overcast" Kandinsky - Limited Edition on canvas
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Limited Edition on canvas. Approx. size: 29inx33in
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Small World I
Wassily Kandinsky Limited Edition on paper, "Small World I".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WOMAN IN BLUE" DIMENSIONS ARE APPROXIMATELY 19X16, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "CRANES" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Flordali l" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Summery Lunch Hour- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Summery Lunch Hour". Comes with COA. Approx. size: 20"x24". HC-0051
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Second Cornice". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
24K Gold Layered Limited Edition Bear and the Bull Sculpture by Delair
This sculpture is cast in bronze then layered with beautiful 24K gold."Bear and the Bull" by Delair comes with foundry assay. Some variations in marble might occur. Approx. size: 7 1/2"x4"x4".
Art
Gnomus - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Gnomus". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Couple Riding
Wassily Kandinsky Limited Edition on paper, "Couple Riding".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "MUSICIAN", DIMENSIONS ARE APPROXIMATELY 19.5X16, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JUNK YARD" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade "Mixed colored grapes vine"
Siberian Jade "Mixed colored grapes vine", This beautiful work is made of 100% natural lavender jade, the tree leafs are made of Taiwan jade. approx dimensions 13x12 in. In house
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "A FarmHouse Amoung The Trees" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The Teaching Of Philetas- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "The Teaching Of Philetas". Comes with COA. Approx. size: 20"x24". HC-0052
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Blind for Envy". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Medium - Sculptures
Original Limited Edition 24K Gold Layered Bronze Art Deco Chiparus Sculpture -Fan Dancer
This Chiparus sculpture, "Fan Dancer", is a limited edition 24K gold layered bronze sculpture.
Art
Kandinsky 45 - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Kandinsky 45". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Arch and Point
Wassily Kandinsky Limited Edition on paper, "Arch and Point".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "ETUDE POUR LE NU A LA DRAPER" DIMENSIONS ARE APPROXIMATELY 19X16, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "COLORS OF JUNK" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade "Green Jade Boat"
Siberian Jade "Green Jade Boat", This is a beautiful work made of 100% Green Jade, hand carved to perfection. Approx dimensions 45x58 in. In house
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Moses" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The Wolf Pit- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "The Wolf Pit". Comes with COA. Approx. size: 20"x24". HC-0053
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Angel of Mercy". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Lady In Moscow - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Lady In Moscow". Comes with COA. Approx. size: 20"x24". HC-0045
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-BLUE CIRCLE
Wassily Kandinsky Limited Edition on paper, "BLUE CIRCLE".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "THE COUPLE" DIMENSIONS ARE APPROXIMATELY 21X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAN PEDRO REFINERY" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Old Masters
Henri Matisse Limited Edition
Henri Matisse Limited Edition On Paper. "The Dragon" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Trampled Flowers- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Trampled Flowers". Comes with COA. Approx. size: 20"x24". HC-0054
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "The Smoke of Irascibility". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Nature Study from MurnauI 1909 - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Nature Study from Murnaukl 1909". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Lady in Moscow
Wassily Kandinsky Limited Edition on paper, "BLUE CIRCLE".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
"Masquesade" - Icart - Limited Edition on Paper
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. Plate limited edition Limited Edition on paper. Edition number varies. Approx. size: 19"x22".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WOMAN IN GREEN HAT" DIMENSIONS ARE APPROXIMATELY 21X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "DEPOSITO ROTTAMI" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Still Life With Lilies" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Winter- Chagall - Limited Edition on Canvas
Marc Chagall Limited Edition On Canvas From Daphnis and Chloe, "Winter". Comes with COA. Approx. size: 20"x24". HC-0055
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Purgatory), "Arachne". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Red Spot II - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Red Spot II". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"Seaside" - Jean Dufy Limited Edition
Jean Dufy was born in Le Havre in 1888, the seventh of eleven children. His father was an accountant in a metallurgy company as well as a talented amateur musician. We have very few visual and artistic tracks of Jean’s childhood in Le Havre, of his job as an itinerant clerk for an overseas import business, or of his stint as secretary on the transatlantic liner “La Savoie”, which linked Le Havre to New York. It was nonetheless during this period that the painter cultivated his artistic sensibility by strolling around the Le Havre port and reading Baudelaire, Mallarmé, and Rimbaud. He then discovered Matisse, Derain, Marquet, and Picasso at the 1906 Le Havre exposition. Matisse’s “Fenêtre ouverte à Collioure”, with its dazzling light and violent, boisterous colors, showed Jean Dufy his true calling. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Wassily Kandinsky Limited Edition-Improvisational Gorge
Wassily Kandinsky Limited Edition on paper, "The Red Oval".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"Little Spider" - Icart - Limited Edition on Paper
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. Plate limited edition Limited Edition on paper. Edition number varies. Approx. size: 19"x22".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WOMAN IN HAT" DIMENSIONS ARE APPROXIMATELY 19.5X16, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "WEARHOUSE" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberian Jade "Lavander Grape Tree"
Jade "Lavander Grape Tree", dimensions are approx 10x7 in.
Fine Jewelry
10K Gold & Pink Heart CZ Necklace
10K Gold & Pink Heart CZ Necklace Gem Type: Pink Ice CZ Gem Cut: Faceted Heart Cut Gem Size: 6 x 6 mm Pedant Type: Solitaire Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 13.5 x 6 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp
General - Old Masters
Rembrandt Van Rijn- limited Edition
Rembrandt Van Rijn- Limited Edition On Paper. "Study For St. Peter" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Paradise) , "Piccardi Donati". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
The Great Gate of Kiev - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "The Great Gate of Kiev". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Landscape with Figures and Rainbow
Lichtenstein Limited Edition on paper, "Landscape with Figures and Rainbow".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"Le Chapeau" - Icart - Limited Edition on Paper
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. Plate limited edition Limited Edition on paper. Edition number varies. Approx. size: 19"x22".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED PERSONNAGE ET COLOMBE" DIMENSIONS ARE APPROXIMATELY 19X17, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "OLD REFINERY" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberain Jade "Peach Tree"
Jade "Peach Tree", dimensions are approx 23x13 in.
Fine Jewelry
White Pearl & 10K Yellow Gold Pendant & Chain Necklace
White Pearl & 10K Yellow Gold Pendant & Chain Necklace mm Genuine White Cultured Pearl 1 Brilliant Round CZ Accent Stone Solid 10K Yellow Gold Pendant & Chain Necklace Size: 11 x 5 mm (LxW) 18" 10K Yellow Gold Chain
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "Cannibalism Of Objects" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series , "The Slothful". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Thirty - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Thirty". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-THE KISS
Lichtenstein Limited Edition on paper, "THE KISS". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
"Cockatoo" - Icart - Limited Edition on Paper
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. Plate limited edition Limited Edition on paper. Edition number varies. Approx. size: 19"x22".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "STILL LIFE WITH FISH", DIMENSIONS ARE APPROXIMATELY 22X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "TUB BOAT REFLECTIONS" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberain Jade "Lavander Grape Tree"
Jade "Lavander Grape Tree", dimensions are approx 16x12 in.
Fine Jewelry
17.5 ctw. Genuine Sapphire Pendant in 10K Yellow Gold
17.5 ctw. Genuine Sapphire Pendant in 10K Yellow Gold Gem Type: 17.5 ct. Genuine Sapphires Center Gem Cut: Faceted Oval Cut Accent Gem Cut: Brilliant Round Cut Metal Type: Solid Yellow Gold Metal stamp: 10K Size: 34 x 20 mm (LxW) Pendant Only - No Chain
General - Old Masters
Picasso Limited Edition
Picasso Limited Edition On Paper. "Maoulin De La Galette" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Original Salvador Dali Woodblock - Signed
These original Dali woodblocks are signed and very beautiful!! This is from Dante's Divine Comedy Series (Inferno) , "The Black Cherub". Comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Unbroken - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Unbroken". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-George Washington
Lichtenstein Limited Edition on paper, "George Washington". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
General - Prints/Reproductions
"La Pais Amis" - Icart - Limited Edition on Paper
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. Plate limited edition Limited Edition on paper. Edition number varies. Approx. size: 19"x22".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "STILL LIFE WITH LEMONS" DIMENSIONS ARE APPROXIMATELY 19X21.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAUSALITO BAY" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
5 ctw. Lab Ruby & Diamond Pendant in 10K Yellow Gold
5 ctw. Lab Ruby & Diamond Pendant in 10K Yellow Gold Accent Gems: 1 ctw Brilliant Round cut Diamonds 100% Genuine Natural Diamonds Setting Type: 10K Solid Yellow Gold Slider Pedant Metal Type: Solid Yellow Gold Metal stamp: 10K 'Solid Gold' Pedant Size: 27.5 x 17.5 mm (LxW)
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "The Face Of War" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Upward - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Upward". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Portrait II
Lichtenstein Limited Edition on paper, "Landscape with Figures and Rainbow".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Dali Limited Edition - Gala's Dream
Dali , limited edition, "Gala's Dream". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED HOMAGE TO THE SPAINARD" DIMENSIONS ARE APPROXIMATELY 17.5X19.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MARINA" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Siberain Jade "Bonsai Flowers with vase"
Real Jade Hot Pink Bonsai Flowers on vase, dimensions are approx 11x7 in.
Fine Jewelry
5ctw Created Pink Sapphire & Diamond Pendant in 10K Gold
5ctw Created Pink Sapphire & Diamond Pendant in 10K Gold Center Gem: 4 ct Emerald Cut Lab Created Pink Sapphire Accent Gems: 1 ctw Brilliant Round cut Diamonds 100% Genuine Natural Diamonds Setting Type: 10K Solid Yellow Gold Slider Pedant Metal Type: Solid Yellow Gold Metal stamp: 10K 'Solid Gold' Pedant - 'Not' Plated Base Metals! Size: 27.5 x 17.5 mm (LxW)
General - Old Masters
Salvador Dali - Signed Limited Edition
Salvador Dali - Signed Limited Edition On Paper. "The Colossus Of Rhodes" Comes With COA Out of an Edition of 95. Edition Number May Vary From Picture. Comes In Beautiful Custom Matt and frame. Approx Dimensions 20" x 16"
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Yellow Red and Blue - Kandinsky - Limited Edition on Canvas
Wassily Kandinsky Limited Edition on canvas, "Yellow, Red and Blue". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
"At The Oasis" -Eugene Fromentin - Limited Edition
Eugene Fromentin was born into a wealthy family in La Rochelle. His father was a physician who paid little attention to the child and his mother, a devout Christian, spent her time on devotions, leaving her son to his own devices. The young Eugene grew up withdrawn and lacking in self confidence.Eugene proved to be a model student and in 1839 traveled to Paris where he earned a degree in law. Discovering the practice of law to be unsuitable Fromentin decided to follow his interests in art and literature and pursue a career as a painter. Limited Edition on canvas. Approx. size: 29in x 33in
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-SUNRISE
Lichtenstein Limited Edition on paper, "SUNRISE".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Original Oil .
Michael Schofield signed original oil . Approx. size: 16"x12".
General - Prints/Reproductions
Dali Limited Edition - Dali Male, In Contemplation
Dali , limited edition, "Dali Male, In Contemplation". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WOMANS COSTUME" DIMENSIONS ARE APPROXIMATELY 21.5X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MAIL BOXES" CIRCA 19777. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
5ctw Created Pink Sapphire & Diamond Pendant in 10K Gold
Center Gem: 4 CT Faceted Oval Cut Lab Created Pink Sapphire Accent Gems: 1 ctw Brilliant Round cut Diamonds 100% Genuine Natural Diamonds Setting Type: 10K Solid Yellow Gold Slider Pedant Metal Type: Solid Yellow Gold Metal stamp: 10K 'Solid Gold' Pedant - 'Not' Plated Base Metals! Size: 27.5 x 17.5 mm (LxW) Pendant Only - No Chain
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Art
Boats at Collioure - Andre Derain - Limited Edition on Canvas
Andre Derain Limited Edition on canvas, "Boats at Collioure". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Artist Studio- with Model
Lichtenstein Limited Edition on paper, "Artist Studio- with Model".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Dali Limited Edition - Spinning Man
Dali , limited edition, "Spinning Man". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "THE CARD PLAYER", DIMENSIONS ARE APPROXIMATELY 18X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "THREE-SEVEN-FOUR" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
1 ctw. Diamond Heart Pendant in 10K Gold
1 ctw. Diamond Heart Pendant in 10K Gold Gem Type: 100% Genuine Natural Diamonds Gem Weight: 1 Carat Total Weight Diamonds Gem Cut: Brilliant Round Cut Gem Clarity: I1 - I2 Gem Color: C2 - C3 Setting: Heart Pendant Metal Type: Solid Yellow Gold Metal Stamp: 10K Pendant Size: 24 x 21 mm (LxW) "Solid 10K Gold" Pendant - "Not" Plated Base Metals Pendant Only - No Chain
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Art
La Tamise Et Tower Bridge - Andre Derain - Limited Edition on Canvas
Andre Derain Limited Edition on canvas, "La Tamise Et Tower Bridge". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-POW WOW
Lichtenstein Limited Edition on paper, "POW WOW".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Dali Limited Edition - Gala's Castle At Pubol
Dali , limited edition, "Gala's Castle At Pubol". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "JUNK ISLAND" CIRCA 1979. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Fine Jewelry
1.5 ctw. Diamond 10K Gold Heart Pendant
1.5 ctw. Diamond 10K Gold Heart Pendant 1.5 ctw. Brilliant Round Cut Diamonds 100% Genuine Natural Diamonds Setting: 10K Yellow Gold Heart Pendant Metal Type: Solid 10k Yellow Gold Metal stamp: 10K "Solid 10K Gold" Pendant - "Not" Plated Base Metals Pendant Size: 35 x 33mm (L x W) Pendant Only - No Chain
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Art
Avant La Course - Edgar Degas - Limited Edition on Canvas
Edgar Degas. Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Forest Scene
Lichtenstein Limited Edition on paper, "Forest Scene".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Chagall Limited Edition - The Still Life With Flowers
Chagall , limited edition, "The Still Life With Flowers". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "NUDE SITTING IN THE ARM CHAIR" DIMENSIONS ARE APPROXIMATELY 20.5X16.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAUSALITO" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
3 ctw. Garnet & Diamond 10K Yellow Gold Pendant
3 ctw. Garnet & Diamond 10K Yellow Gold Pendant Gem Type: Genuine Emerald Cut Garnet Gem Weight: 2.5 Carat Gem Cut: Emerald Gem Type: Genuine Natural Diamonds Gem Weight: 1/2 Carat Total Weight Diamonds Gem Cut: Round Metal Type: Solid Yellow Gold Metal Stamp: 10K Pendant Size: 23 x 14 mm (LxW) (25.4 mm = 1" inch) Solid 10K Gold Pendant
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Carpenter" by artist Valtune.
Bronze "Carpenter" by artist Valtune, dimensions are approx 5x5x3 in.
Art
Ballet At The Opera - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Ballet At The Opera". Comes with COA. Approx. size: 20"x24". HC-0045
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Artist Studio - Foot Medication
Lichtenstein Limited Edition on paper, "Artist Studio - Foot Medication".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "WOMAN IN GREEN:, DIMENSIONS ARE APPROXIMATELY 20X16.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAUSALITO BAY" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Fine Jewelry
10K Gold Created Pink Sapphire Necklace
10K Gold Created Pink Sapphire Necklace Gem Type: 1 Lab Created Pink Sapphire Gem Cut: Princess Cut Metal Type: Solid Yellow Gold Metal stamp: 10K Pendant Size: 11.5 x 7.0 mm (LxW) Chain Size: 18" 10K Yellow Gold Chain w/Ring Spring Clasp "Solid 10K Gold" Pendant & Chain - "Not" Plated Base Metals
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Ballet Dancers On Stage - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Ballet Dancers On Stage". Comes with COA. Approx. size: 20"x24". HC-0046
General - Prints/Reproductions
"Hunting Near Kabul" -Farrukh Beg Humayun- Limited Edition
Farrukh Beg (ca. 1545 – ca. 1615) was a Persian born Mughal painter who served in the court of Muhammad Hakim before working directly for Mughal emperor Akbar. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Roy Lichtenstein Limited Edition- Still Life with Net, Shell, Rope and Paper
Lichtenstein Limited Edition on paper, "Still Life with Net, Shell, Rope and Paper".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Dali Limited Edition - Invisible Sleeping Woman
Dali , limited edition, "Invisible Sleeping Woman". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "STILL LIFE WITH LEMONS" DIMENSIONS ARE APPROXIMATELY 19X22, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "COLORI SULLA BAIA" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
Collectibles
Bone Antique "King"
Bone Antique "King", approx dimensions 18x9x8 in. In house
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Cupidon" by artist Monreau.
Bronze "Cupidon" by artist Monreau, dimensions are approx 9x4 in.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Cafe Concert - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Cafe Concert". Comes with COA. Approx. size: 20"x24". HC-0047
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Still Life with Lemons
Lichtenstein Limited Edition on paper, "Still Life with Lemons".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Picasso Limited Edition - Seated Bather
Picasso , limited edition, "Seated Bather". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "BREAD AND FRUIT BOWL DIMENSIONS ARE APPROXIMATELY 22X19.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SAUSALITO REFLECTIONS" CIRCA 1975. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Art
Dancer In Green Tutu - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Dancer In Green Tutu". Comes with COA. Approx. size: 20"x24". HC-0048
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-Landscape with Red Roof
Lichtenstein Limited Edition on paper, "Landscape with Red Roof".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Picasso Limited Edition - Women Of Algiers
Picasso , limited edition, "Women Of Algiers". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED DESIGN FOR BALLET", DIMENSIONS ARE APPROXIMATELY 19.5X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SANTA CRUZ WATERFRONT" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "1909's Indian Chief" by artist Dallin.
Bronze "1909's Indian Chief" by artist Dallin, dimensions are approx 6X4X2 in.
Art
Dancer With Bouqet - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Dancer With Bouqet". Comes with COA. Approx. size: 20"x24". HC-0049
General - Prints/Reproductions
Roy Lichtenstein Limited Edition-RED HORSEMAN
Lichtenstein Limited Edition on paper, "RED HORSEMAN".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Chagall Limited Edition - Red House
Chagall , limited edition, "Red House". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "STUDIO WINDOW", DIMENSIONS ARE APPROXIMATELY 20X17, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SANTA CRUZ MARINA" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Art
Dancer With Bouqet II - Edgar Degas - Limited Edition on Canvas
Edgar Degas Limited Edition on canvas, "Dancer With Bouqet II". Comes with COA. Approx. size: 20"x24". HC-0050
General - Prints/Reproductions
Pierre August Renoir Limited Edition-The Point Neuf
Renoir Limited Edition on paper, "The Point Neuf".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Picasso Limited Edition - Unknown
Picasso , limited edition, "Unknown". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "SPRING TIME" DIMENSIONS ARE APPROXIMATELY 18X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SANTA CRUZ HARBOR" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Inkwell" by artist Tiffany & Co. NY NY.
Bronze "Inkwell" by artist Tiffany & Co. New York New York, Face lifts up, dimensions are approx 6x3 in.
General - Prints/Reproductions
"La Tamise at Tower Bridge" -Andre Derain - Limited Edition
Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In 1898, while studying to be an engineer at the Académie Camillo,[2] he attended painting classes under Eugène Carrière, and there met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and began to paint his first landscapes. His studies were interrupted from 1901 to 1904 when he was conscripted into the French army. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian. Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to compose a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain put forth a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Pierre August Renoir Limited Edition-View at Guernsey
Renoir Limited Edition on paper, "View at Guernsey".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Michael Schofield Hand Signed Water Color on Paper
This is a Michael Schofield hand water color. Hand Signed by Artist. Paper Size: 11" x 14.5" Comes unframed. In mint condition!
General - Prints/Reproductions
Picasso Limited Edition - Mediterranian Landscape
Picasso , limited edition, "Mediterranian Landscape". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED"PIGEONS", DIMENSIONS ARE APPROXIMATELY 20X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SANTA CRUZ HARBOR" CIRCA 1977. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Marine at Guernsey
Renoir Limited Edition on paper, "Marine at Guernsey".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Direct from the Artist
Original Watercolor on paper by Michael Schofield
Original Watercolor on paper by Michael Schofield. Hand Signed. Paper Size: 11"x 14.5". In mint condition!
General - Prints/Reproductions
Picasso Limited Edition - The Artist
Picasso , limited edition, "The Artist". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "STILL LIFE WITH AN OPEN WINDOW" DIMENSIONS ARE APPROXIMATELY 21X16.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "YACHT HARBOR" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Frog" by artist Tiffany & Co. NY NY.
Bronze "Frog" by artist Tiffany & Co. NY NY, dimensions are approx 2x5x4 in.
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Hills and the Bay of Moulin Huet
Renoir Limited Edition on paper, "Hills and the Bay of Moulin Huet".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Direct from the Artist
Original Watercolor on paper by Michael Schofield
Original Watercolor on paper by Michael Schofield. Hand Signed. Paper Size: 11"x 14.5". In mint condition!
General - Prints/Reproductions
Picasso Limited Edition - Italian Woman
Picasso , limited edition, "Italian Woman". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "STILL LIFE WITH A CANDLE STICK" DIMENSIONS ARE APPROXIMATELY 17X19.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BARCA ROSSA" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Landscape near Menton
Renoir Limited Edition on paper, "Landscape near Menton".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Le Coiffure
Picasso , limited edition, "Le Coiffure". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "SMOKE IN VALLAURIS" , DIMENSIONS ARE APPROXIMATELY 17X19 COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "BAY REFLECTIONS" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Coyote" by artist Tiffany & Co. NY NY.
Bronze "Coyote" by artist Tiffany & Co. NY NY, dimensions are approx 1x2 in.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Seine at Camprosay
Renoir Limited Edition on paper, "Seine at Camprosay".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Little Ashes
Dali , limited edition, "Little Ashes". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED QUATRE NUS VU HAREN" DIMENSIONS ARE APPROXIMATELY 17X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "RIFLESSI DI BARCHE" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
"Sailing Boats at Saint Adresse"-Raoul Dufy - Limited Edition
Raoul Dufy (3 June 1877 – 23 March 1953) was a French Fauvist painter. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings. He is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, a theatrical set-dresser, a designer of furniture, and a planner of public spaces. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Rowers at Chatou
Renoir Limited Edition on paper, "Rowers at Chatou".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - The Juggler
Chagall , limited edition, "The Juggler". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED AFTER VELAZQUEZ"", DIMENSIONS ARE APPROXIMATELY 17X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "MARINA RIFLESSI" CIRCA 1978. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
Medium - Sculptures
Bronze "Young Wolf Bell" by artist Moreau.
Bronze "Young Wolf Bell" by artist Moreau, dimensions are approx 6x45 in.
General - Prints/Reproductions
Pierre August Renoir Limited Edition-View of Bougavil
Renoir Limited Edition on paper, "View of Bougavil".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Sleeping Nude
Picasso , limited edition, "Sleeping Nude". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FEMME COUCHEE II", DIMENSIONS ARE APPROXIMATELY 16X19, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ORIGINAL SIGNED LITHOGRAPH BY ARTIST MARCO SASSONE
LITHOGRAPH IN THE MANNER OF MARCO SASSONE BEARING THE SIGNATURE TITLED "SANTA CRUZ BAY" CIRCA 1976. COMES WITH CERTIFICATE OF AUTHENTICITY.FRAMING AVAILABLE AT AN ADDITIONAL CHARGE.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-The Bridge at Chatou
Renoir Limited Edition on paper, "The Bridge at Chatou".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "PORTRAIT OF A WOMAN" DIMENSIONS ARE APPROXIMATELY 22X18.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Rocky Crags at L'Estaque
Renoir Limited Edition on paper, "Rocky Crags at L'Estaque". Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "PAGES PLAYING" DIMENSIONS ARE APPROXIMATELY 19.5X21.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-The Gust of Wind
Renoir Limited Edition on paper, "The Gust of Wind".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "LOBSTER AND CAR"DIMENSIONS ARE APPROXIMATELY 20X22, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
"Horses" - Jean Dufy - Limited Edition
Jean Dufy was born in Le Havre in 1888, the seventh of eleven children. His father was an accountant in a metallurgy company as well as a talented amateur musician. We have very few visual and artistic tracks of Jean’s childhood in Le Havre, of his job as an itinerant clerk for an overseas import business, or of his stint as secretary on the transatlantic liner “La Savoie”, which linked Le Havre to New York. It was nonetheless during this period that the painter cultivated his artistic sensibility by strolling around the Le Havre port and reading Baudelaire, Mallarmé, and Rimbaud. He then discovered Matisse, Derain, Marquet, and Picasso at the 1906 Le Havre exposition. Matisse’s “Fenêtre ouverte à Collioure”, with its dazzling light and violent, boisterous colors, showed Jean Dufy his true calling. Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Le Pont des Arts
Renoir Limited Edition on paper, "Le Pont des Art".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Galleta Of The Spheres
Dali , limited edition, "Galleta Of The Spheres". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "FEMME A LA TOILETTE" DIMENSIONS ARE APPROXIMATELY 20X22, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Pierre August Renoir Limited Edition-Garden in the Rue Cortot
Renoir Limited Edition on paper, "Garden in the Rue Cortot".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Unknown
Picasso , limited edition, "Unknown". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "HEAD OF A FAUN" DIMENSIONS ARE APPROXIMATELY 20X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-DREAMING
Icart Limited Edition on paper, "DREAMING".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Portrait Of Bibi La Parte
Picasso , limited edition, "Portrait Of Bibi La Parte". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "STILL LIFE WITH COCK AND KNIFE", DIMENSIONS ARE APPROXIMATELY 17X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-SWING
Icart Limited Edition on paper, "SWING".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Cavalier With A Pipe
Picasso , limited edition, "Cavalier With A Pipe". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, "TITLED LANDSCAPE II" DIMENSIONS ARE APPROXIMATELY 17X19.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-He Loves me, he Loves me not
Icart Limited Edition on paper, "He Loves me, he Loves me not".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Picasso Limited Edition - The Bathers
Picasso , limited edition, "The Bathers". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FEMME AU CHEAU GRIS", DIMENSIONS ARE APPROXIMATELY 19X16, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Franz Marc "Animaux Fableux" Limited Edition
Franz Marc "Animaux Fableux" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Louis Icart Limited Edition-Joy of Life
Icart Limited Edition on paper, "Joy of Life".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Apparition Of The Visage Of Aphrodite
Dali , limited edition, "Apparition Of The Visage Of Aphrodite". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "FEMME AT MINATAUR", DIMENSIONS ARE APPROXIMATELY 20X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-Symphony in Blue
Icart Limited Edition on paper, "Symphony in Blue".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - The Torreador
Dali , limited edition, "The Torreador". Out of an edition of 95. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "WOMAN IN HAT" DIMENSIONS ARE APPROXIMATELY 21X18.5, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-Cat caress
Icart Limited Edition on paper, "Cat caress".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Specier of Vermeer
Dali , limited edition, "Specier of Vermeer". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "JACQUELINE IN THE STUDIO", DIMENSIONS ARE APPROXIMATELY 19X21, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
General - Prints/Reproductions
Louis Icart Limited Edition-MINUET
Icart Limited Edition on paper, "MINUET".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Head Bombarded With Grains Of Wheat
Dali , limited edition, "Head Bombarded With Grains Of Wheat". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Wonderful and Rare!
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Louis Icart Limited Edition-Tender Grapes
Icart Limited Edition on paper, "Tender Grapes".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Acrobat On A Ball
Picasso , limited edition, "Acrobat On A Ball". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "SEATED WOMAN IN TURKISH COSTUME" DIMENSIONS ARE APPROXIMATELY 21X18, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
Art
Salvador Dali Original signed woodblocks
2 Piece Color Lithograph by Salvador Dali. Set includes 2 beautiful woodblocks from Dante's Divine Comedy Signed in lower right. Frame Size: 17”x24”. Very rare!!
General - Prints/Reproductions
Franz Marc "Les Premier Animaux" Limited Edition
Franz Marc "Les Premier Animaux" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Louis Icart Limited Edition-LILIES
Icart Limited Edition on paper, "LILIES".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Interior With A Girl Drawing
Picasso , limited edition, "Interior With A Girl Drawing". Out of an edition of 95. Edition number may vary from pictured.
Art
SIGNED LIMITED EDITION LITHOGRAPH BY PABLO PICASSO
LITHOGRAPH IN THE MANNER OF PABLO PICASSO BEARING THE SIGNATURE IN A LIMITED EDITION, TITLED "STILL LIFE WITH VASE AND PIPE" DIMENSIONS ARE APPROXIMATELY 19X22, COMES WITH CERTIFICATE OF AUTHENTICITY.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Louis Icart Limited Edition-YOUTH
Icart Limited Edition on paper, "YOUTH".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Seated Woman 2
Picasso , limited edition, "Seated Woman 2". Out of an edition of 95. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Still Life with Mackerel
Van Gogh Limited Edition on paper, "Still Life with Mackerel".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - The Maximum Speed of Raphael's Madonna
Dali , limited edition, "The Maximum Speed of Raphael's Madonna". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Bench with Figures
Van Gogh Limited Edition on paper, "Bench with Figures".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Meditative Rose
Dali , limited edition, "Meditative Rose". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Fishing Boats on the Beach
Van Gogh Limited Edition on paper, "Fishing Boats on the Beach".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Rhinoerotic Disentigration of Ullysses
Dali , limited edition, "Rhinoerotic Disentigration of Ullysses". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
George Barbier "Nikinsky" Limited Edition
George Barbier "Nikinsky" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-IRISES
Van Gogh Limited Edition on paper, "IRISES".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Chagall Limited Edition - Circus 511
Chagall , limited edition, "Circus 511". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Terrance of the Cafe
Van Gogh Limited Edition on paper, "Terrance of the Cafe".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Night Bouqet
Chagall , limited edition, "Night Bouqet". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Still Life with Open Bible
Van Gogh Limited Edition on paper, "Still Life with Open Bible".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Le Cirque 501
Chagall , limited edition, "Le Cirque 501". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Houses in Auvers
Van Gogh Limited Edition on paper, "Houses in Auvers".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Lamon and Drya's Dream
Chagall , limited edition, "Lamon and Drya's Dream". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-The Old Mill
Van Gogh Limited Edition on paper, "The Old Mill".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Picasso Limited Edition - The Old Guitarist
Picasso , limited edition, "The Old Guitarist". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
"Golden Effigy of Tutankhamen" - Unknown artist - Limited Edition
Limited Edition on canvas. Approx. size: 29in x 33in
General - Prints/Reproductions
Vincent Van Gogh Limited Edition-Cottages with Thatched Roofs
Van Gogh Limited Edition on paper, "Cottages with Thatched Roofs".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Combination
Dali , limited edition, "Combination". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Louis Icart Limited Edition-RAIN
Icart Limited Edition on paper, "RAIN".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Circus 524
Chagall , limited edition, "Circus 524". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Claude Monet Limited Edition-THE WALK
Monet Limited Edition on paper, "THE WALK".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Circus 491
Chagall , limited edition, "Circus 491". Out of an edition of 95. Edition number may vary from pictured.
General - Prints/Reproductions
Unknown Limited Edition-Sacred Heart of Jesus
Unknown Limited Edition on paper, "Sacred Heart of Jesus".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Dali Limited Edition - Premature Ossification at a Railway Station
Dali , limited edition, "Premature Ossification at a Railway Station". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Unknown Limited Edition-Sacred Heart of Mary
Unknown Limited Edition on paper, "Sacred Heart of Mary".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Honey Is Sweeter Than Blood
Dali , limited edition, "Honey Is Sweeter Than Blood". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Warhol "George" Limited Edition
Warhol "George" Limited Edition on Canvas. Approx. size: 29"x30". Comes Beautifully framed with COA. CC
General - Prints/Reproductions
Claude Monet Limited Edition-The Marina at Argenteuil
Monet Limited Edition on paper, "The Marina at Argenteuil".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Accomodation of Desire
Dali , limited edition, "Accomodation of Desire". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Alberto Giacometti Limited Edition-ANNETTE
Alberto Giacometti Limited Edition on paper, "ANNETTE".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Chagall Limited Edition - Winter
Chagall , limited edition, "Winter". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Prints/Reproductions
Claude Monet Limited Edition-Pleasure Boats
Monet Limited Edition on paper, "Pleasure Boats".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Dali Limited Edition - Morning Ossification of the Cypress
Dali , limited edition, "Morning Ossification of the Cypress". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Claude Monet Limited Edition-Still Life with Pears and Grapes
Monet Limited Edition on paper, "Still Life with Pears and Grapes".Comes with COA. Out of an edition of 95. Edition number may vary from pictured. comes in Beautiful custom matt & frame, approx dimension 20"x16".
General - Prints/Reproductions
Picasso Limited Edition - Pipers Of Pan
Picasso , limited edition, "Pipers of Pan". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Dali Limited Edition - The Ecumenical Council
Dali , limited edition, "The Ecumenical Council". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Unknown Artist - Religious Icon
Religious icon giclee on canvas by unknown artist. Beautifully framed.
General - Prints/Reproductions
Chagall Limited Edition - The White Window
Chagall , limited edition, "The White Window". Out of an edition of 95. Edition number may vary from pictured.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Dali Limited Edition - Anthromorphic Cabinet
Dali , limited edition, "Anthromorphic Cabinet". Out of an edition of 95. Edition number may vary from pictured.
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Unknown Artist - Religious Icon
Religious icon giclee on canvas by unknown artist. Beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Unknown Artist - Religious Icon
Religious icon giclee on canvas by unknown artist. Beautifully framed.
Fine Jewelry
Iolite & Diamond 10K Gold Necklace
1 ctw Iolite & Diamond 10K Gold Necklace
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Unknown Artist - Religious Icon
Religious icon giclee on canvas by unknown artist. Beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
"Unknown" - Kandinsky
Wassily Wassilyevich Kandinsky 4 December 1866 – 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. Beautifully framed Limited Edition on canvas, comes with COA. Approx. size: 28iin x 32in. CC-2H
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Bellows Limited Edition Giclee on Canvas - Dempsey and Firpo
George Wesley Bellows is best known for his paintings of urban life, sporting events, and his portrait paintings.George Bellows was born in Columbus, Ohio .He attending Ohio State University from 1901 to 1904,and enrolled in the New York School of Art, where he studied under William Merritt Chase and Robert Henri. While in school, he supported himself by painting illustrations to popular magazines such as Vanity Fair. In 1906 he established his own studio in New York, and two years later won a prestigious award from the National Academy of Design for a landscape painting. Soon after his move to New York, Bellows became associated with the free-spirited group of artists and critics centered around Robert Henri—known as The Eight,and Frank Crowninshield, Edward Hopper, and Leon Kroll. Championed equally by the conservative arts faction related to the National Academy of Design and the more progressive artists, Bellows maintained a curious, position in the American art world. Both radicals and conservatives alike praised his expressive, boldly brushed landscape paintings, urban paintings, and portraits for their “American temperament.” In 1910 he began teaching at the Art Students League and soon after had his first one-person exhibition at the Independent Artists Gallery in New York. Bellows was one of the artists who helped organize the avant-garde Armory Show in 1913 and some of his paintings were exhibited there.He was able to paint both the academic and progressive movements. His art encompassed both less conventional subjects such as boxing scenes and political events, as well as more traditional portraits and leisure activities paintings.  Bellows limited edition giclee on canvas , "Dempsey and Firpo" comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
6-2 HUGE $50 Summer Liquidation PRE BID NOW!
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Prints/Reproductions
Bellows Limited Edition Giclee on Canvas - A Stag At Sharkeys
George Wesley Bellows is best known for his paintings of urban life, sporting events, and his portrait paintings.George Bellows was born in Columbus, Ohio .He attending Ohio State University from 1901 to 1904,and enrolled in the New York School of Art, where he studied under William Merritt Chase and Robert Henri. While in school, he supported himself by painting illustrations to popular magazines such as Vanity Fair. In 1906 he established his own studio in New York, and two years later won a prestigious award from the National Academy of Design for a landscape painting. Soon after his move to New York, Bellows became associated with the free-spirited group of artists and critics centered around Robert Henri—known as The Eight,and Frank Crowninshield, Edward Hopper, and Leon Kroll. Championed equally by the conservative arts faction related to the National Academy of Design and the more progressive artists, Bellows maintained a curious, position in the American art world. Both radicals and conservatives alike praised his expressive, boldly brushed landscape paintings, urban paintings, and portraits for their “American temperament.” In 1910 he began teaching at the Art Students League and soon after had his first one-person exhibition at the Independent Artists Gallery in New York. Bellows was one of the artists who helped organize the avant-garde Armory Show in 1913 and some of his paintings were exhibited there.He was able to paint both the academic and progressive movements. His art encompassed both less conventional subjects such as boxing scenes and political events, as well as more traditional portraits and leisure activities paintings.  Bellows limied edition giclee on canvas , "A Stag At Sharkeys" comes with COA and beautifully framed.
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
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General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis
General - Original Works
ONE OF A KIND ORIGINAL LITHOGRAPH BY ARTIST AUBREY BEARDSLEY
LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.[6] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).[7] The Peacock Skirt, 1893 He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ]. Tailpiece or Cul de Lampe, 1893 Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual—which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.[8][9] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home. Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.[6] Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis