Ohio

STAGES # 8 (Darius II, hand raised to face) Watercolor on Yupo paper, 2018 Signed with the artist's initials lower right. Exhibited: Worthington Yards, YARDSProject, FRONT and SEEN....

A beautiful pair of sterling silver candlesticks by Cartier. These gorgeous candlesticks feature a stepped base and tapered flat panel stems. Marked Cartier on the base. Very good co...

1970's era Rosewood tub chair with padded seat and back. This style features a blend of functionality and minimalist aesthetics. Minor wear. Beautiful wood. 17" diameter x 32.5" high...

The Awakening-Night From: Homage to Tobey Portfolio (Six Plates) Etching, 1974 Signed in pencil by the artist on the front lower right "Tobey" (see photo) Numbered in Roman numerals ...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...

Extremely nice original vintage condition with minimal signs of age/use. Mid 1960’s 4 piece burled Credenza from famed Mastercraft. Beautiful piece. Extraordinary hardware. This piec...

14K Yellow gold pearl ring by Potter & Mellon. 8.5mm Pearl organic form. 14K Yellow Gold with leaf design around the pearl. Ring size 7.25". 6....

Untitled (Study for The Aerialists) Graphite on paper, 1932 Signed lower right in pencil: "John Steuart Curry" Dated: 1932 in pencil Exhibited: Schroeder Romero & Shredder, NYC (label), Master Drawings, Oct. 13, 2011-Nov. 12, 2011 (see photo of label) Arkansas Arts Center (label), 44th Collector Show & Sale, Nov. 30-December 30, 2012, Offered at $22,000. (see photo of label) This drawing is closely related to a painting by Curry entitled The Aerialists, 1932, once in the Erskine Collection, Cedar Rapids, Iowa. It is part of a group of preliminary drawings and three finished paintings executed by Curry around 1932 which were based on The Flying Cadonas. The painting The Flying Cadonas is an icon of American art purchased by the Whitney Museum of Art and now on permanent exhibition. There are other know studies for these works, nos. 199 through 222 and in John Steuart Curry: Rural America, page 32 (Mongerson Wunderlich, Chicago, 1990. Provenance: Mrs. Kathleen Curry (artist’s widow), included in the estate schedule of works Treadway Toomey Auction, Oak Park, Illinois, 2009 Don Joint, New York An important American Regionalist drawing. Like Grant Wood and Thomas Hart Benton, John Steuart Curry was a major American scene painter of the 1930s. His subjects were taken from American history and his most famous mural, The Tragic Prelude...

Thirsty: The Appearance of a Town Geisha - a So-Called Wine-Server - in the Ansei Era Color woodcut, 1888 Signed; Seal: Taiso (see photo) Plate 22 from the series "Thirty-two Aspects...

A very modern looking early heavy glass cocktail shaker with round ball top , frosted edge to the collar with two pour spout areas . The top has cut grooves to each end for shots or pours as pictured and a very well thought out design for the professional bar keeper . Weighted perfectly for the hand and tight lid manufactured by the Cambridge Glass...

This 1970 sofa designed by Richard Schultz for Knoll features a leather cushioned front and back, and was created with modular sections that hang from a ste...

This beauty by Paul Evans for Directional Furniture just finished up at upholstery masters @copleypholstery. Wrapped in a decadent GP&J Baker Lee Jofa Velvet. Extraordinary to the to...

Unknown Artist, Thailand, 19th century Two Miniatures and text from the "Legend of Phra Malai" Ink and color on paper, c, 1900 Unsigned as usual Script: Aksar Chrieng or Khmer These texts are written in Khom script, a variant of Khmer script often used in Central Thai religious manuscripts. Phra Malai was a Budhist monk whose meditations permitted him to travel to heaven and hell. Condition: Good, with minor staining to text Sight (window) size: 11-1/8 x 27 inches Frame size: 19-3/4 x 35 x 3/4 inches Framed in solid cherry wood with archival, acid free materials The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in this 19th-century Thai samut khoi (folding book) held in the Thai, Lao, and Cambodian Collections of the British Library. Phra Malai figures prominently in Thai art...

Signed by the artist's daughter The painting hung in the home of the artist and her husband William Grauer over their fireplace. This has never previously been offered for sale...

Set of three very large and impressive vintage Chinese Chinoiserie Fu Lu Shou Imortal Star God ceramic statues / figurines. 福禄寿. Shou (Longevity): Depicted as a kindly, long-bearde...

A fine Federal / Regency giltwood and gold gesso pier mirror. This antique mirror features an original Verre églomisé frieze—a reverse-painted glass panel depicting a pastoral farm...

Read the Signs, No. 13 Watercolor on Yupo paper, 2013 Signed lower right corner (see photo) Series: Read the Signs (22 watercolors) Exhibited: William Busta Gallery, Read the Signs, 2014 Canton Museum of Art, Our Separated Selves, 2018 (label) Note: Depicts Randy, a student at St. Ignatius High School in Cleveland, where the artist taught Condition: Excellent Image size: 12 x 9 inches Frame size: 16 1/4 x 13 1/4 inches Darius Steward is an American contemporary artist, muralist, educator, and community advocate whose emotionally charged watercolor paintings and public art projects examine race, memory, identity, grief, and social inequity in contemporary America. Born in 1984 and raised in inner city East Cleveland, Ohio, Steward has developed a nationally recognized practice rooted in portraiture, social commentary, and community engagement, establishing himself as one of the leading contemporary figurative artists working in the Midwest. Steward attended the Cleveland School of the Arts and the Interlochen Center for the Arts before earning a Bachelor of Fine Arts degree in Drawing and Painting from the Cleveland Institute of Art in 2008 and a Master of Fine Arts degree from the University of Delaware in 2010. Following graduate study, he returned to Cleveland, where he established a studio practice centered on watercolor portraiture distinguished by luminous color, dramatic negative space, and psychologically resonant figuration. Drawing upon the experiences of family members, children, and members of his community, Steward transforms personal narratives into broader meditations on vulnerability, resilience, displacement, and the complexities of Black identity in contemporary American life. Working primarily in watercolor on Yupo paper, Steward has developed a distinctive visual language that combines technical virtuosity with emotional immediacy. His paintings explore the psychological pressures confronting African American communities through fragmented compositions and carefully orchestrated spatial relationships. Themes of racial violence, social instability, masculinity, grief, and generational memory recur throughout his work, while expansive fields of white space create a dynamic tension between presence and absence, isolation and transcendence. Over the past decade, Steward has exhibited extensively in museums, galleries, and nonprofit art spaces throughout the United States. Notable solo exhibitions include Pressure at Maria Neil Art Project, Cleveland (2016); Our Separated Selves at the Canton Museum of Art (2018); Occupying A Space at the Swope Art Museum, Terre Haute, Indiana (2019); and Moving On at the Bonfoey Gallery in collaboration with Thomas French Fine Art (2019). In recognition of his artistic achievement and community impact, Steward received the Cleveland Arts Prize Emerging Artist Award in 2018. His work has appeared in significant museum exhibitions including Constant as the Sun at the Museum of Contemporary Art Cleveland; FRONT International-associated exhibitions at the Cleveland Institute of Art; Currents and Constellations: Black Art in Focus at the Cleveland Museum of Art; and African American Art: Past, Present, and Future at the David Owsley Museum of Art at Ball State University. Steward's work is represented in numerous public and private collections, including the Cleveland Museum of Art, Akron Art Museum, Canton Museum of Art, Minneapolis Institute of Art, Davis Museum at Wellesley College, Flint Institute of Arts, Eskenazi Museum of Art at Indiana University, Stanley Museum of Art at the University of Iowa, Swope Art Museum, Westmoreland Museum of American Art, Joel and Lila Harnett Museum of Art, Cleveland Clinic Collection, MetroHealth Collection, Federal Reserve Bank of Cleveland, Summa Health Collection, the Thrivent Collection of Religious Art, and the University of Delaware Collection. In 2020, the Cleveland Museum of Art acquired Steward's drypoint The Practice #1 as a gift from Thomas French Fine Art. Upon the acquisition of Steward's work by the Minneapolis Institute of Art, Director Kaywin Feldman remarked: “Steward uses his extraordinary skill as a watercolorist to add interest and drama to quotidian life. His vivid colors and unusual, eye-catching compositions will make his work a compelling presence in the museum's galleries.” Feldman later became Director of the National Gallery of Art in Washington, D.C. Alongside his studio practice, Steward has earned recognition for ambitious public art projects throughout Northeast Ohio. In 2018 he completed two major public murals: Breaker of Chains, a 200-foot mural commissioned through MidTown Cleveland and Cleveland State University, and Support, located on Detroit Avenue in Cleveland. His mural The Waiting Room (2020), commissioned by Summa Health in Akron, transformed a hospital environment into a contemplative space focused on healing, patience, and shared humanity. Additional public commissions include Bowser Alley in Shaker Heights (2020), the POW! WOW! Cleveland Walls mural at the Rainey Institute (2021), a companion mural for the Lee–Harvard Branch Library (2021), and a major commission for Rocket Mortgage FieldHouse in Cleveland (2019). Steward further expanded his public practice through Baggage Claim: In Search of New Beginnings (2021), a sculptural installation created in collaboration with LAND Studio and the Cleveland Public Library...

Vintage Chinese silk embroidered fire screen featuring pink and red peonies and a reticulated rosewood stand. Dimensions: 17.5" x 8.5" x 31" /...

Berenice Color woodcut, 1900-1910 Signed with the artist's red ink stamp (see photo) Edition: 50 (46/50) Signed with the artist's red ink initials stamp, Lugt 1771, Sup. Condition: E...

Unknown Artist, Thailand, 19th century Miniatures with Text from the "Legend of Phra Malai" Double folio; ink, color and gold leaf, c. 1900 Unsigned Script: Khmer (Cambodian) These texts are written in Khom script, a variant of Khmer script often used in Central Thai religious manuscripts. Paired devas (lesser gods) on throne-like plinths addorse Khmer (Cambodian) script containing tales of Phra Malai, a Sri Lankan arhat or Buddhist saint known for his travels to hell. There, the compassionate monk gave teachings and comfort to sufferers. Phra Malai stories taught the karmic effects of human actions to the faithful as well as conveying Maitreya's message of hope for attaining nirvana. Though known in neighboring countries, the stories of Phra Malai achieved their greatest popularity and influence in Siam (present day Thailand) Condition: Very good Sight window) size: 11-1/8 x 27 inches Frame size: 19-5/8 x 34-7/8 x 3/4 inches The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in this 19th-century Thai samut khoi (folding book) held in the Thai, Lao, and Cambodian Collections of the British Library. Phra Malai figures prominently in Thai art...

The Red Dress Watercolor on paper, mounted on board by the artist, 1926 Signed and dated, 1926 lower left (see photo) Condition: Mounted on support board by the artist ...

This Daum Nancy French art glass vase has been made in the form of a diamond shaped tumbler with a mottled pink color and gilt accents. The exterior of the piece features detailed wh...

2 Available - Pair of hand painted Maitland Smith wall panels. Features a crackled landscape with monkeys holding peaches in a tropical setting amongst birds. Each panel is set wit...

Stunning bi-color tourmaline centerpiece set in solid 14K gold, accented with brilliant natural diamonds for timeless elegance "Bi-color tourmaline drama, iced with natural diamond...

This pair of 19th century busts are after noted French sculptor Albert Ernest Carrier-Belleuse (1824 - 1887). The pieces are exquisitely detailed and depict the head and torso of a ...

This 2.3-carat aquamarine solitaire ring, set in 14k solid gold, is a stunning expression of elegance. The serene blue hue of the aquamarine gemstone shines brightly, making it the p...

Vibrant 2.6ct green tourmaline ring accented with natural diamonds, glowing with fresh, verdant brilliance. Crafted in solid 14k gold with a striking 9×7mm center for bold, refined e...

Title: The Heroine Umekawa in "Meido no Kiyaku" Medium: Color woodcut with mica background, silver metallic pigment, and "gofun" for the snow effect Date Of Execution: 1923 Dimension...

Signed, titled and dated verso. Created at Zygote Press, Cleveland Edition: Unique (1/1) On her creation "I am interested in the possibilities and potentials of communication thro...

Un plaideur auquel manquent malheureusement les pieces les plus importantes, les pieces de cent sous. (A litigant who unfortunately doesn't have the most important details to success..dollars and cents) Series: Croquis par Daumier, No. 1 As published in Le Charivari, Paris, October 20, 1865. Croquis (Sketches by Daumier) is a series of 4 prints...

Hand crafted mahogany center bowl with original sticker. Made in Haiti. Very minor wear. 34" long x 10" wide x 4" tall.

Spectacular Widdicomb piece. Two independent display cases join together and are capped by a single crown that finishes off the piece brilliantly. Incredible details. The cabinet fea...

Edna Boies Hopkins (1872-1937) Two Figures on a Sunlit Porch Colored crayon on paper, undated Unsigned Provenance of the present drawing: Estate of the artist; subsequently with a member of the artist’s family, Cincinnati; purchased from that family member by Professor Eric G. Carlson (1940–2016); acquired directly from Professor Carlson. Attribution: Suggested by Janet Flint, curator at the National Collection of Fine Arts, Smithsonian Institution, and author of Provincetown Printers: A Woodcut Tradition (1983) to Prof. Carlson. Condition: Excellent Image size: 3 1/4 x 3 1/2 inches Edna Boies Hopkins (1872–1937) Edna Boies Hopkins occupies an important place in the development of the American color woodcut, bringing together the decorative principles of Japanese printmaking, the Arts and Crafts movement’s emphasis on individual craftsmanship, and the expressive simplification of early modernism. Best known for her flower compositions, she also produced distinctive landscapes and figure subjects. Her mature prints transform observed nature into carefully balanced arrangements of color, light, and dark, demonstrating how a modestly scaled work on paper could possess considerable visual force. The Cincinnati Art Museum recognized her achievement during her lifetime with exhibitions in 1914 and 1917. Born Edna Bel Beachboard in Hudson, Michigan, Hopkins studied at the Art Academy of Cincinnati during the 1890s, developing her skills in drawing, illustration, and woodcarving. There she met James Roy Hopkins, whom she married in 1904, and fellow artists Ethel Mars and Maud Hunt Squire...

Set of 6 Harden Furniture Queen Anne Dining Chairs, circa 1999. Features a solid cherry frame with curved crest rail over vase sheped splat. The chairs are upholstered with a patte...

This GIA certified Burma ruby weighs approximately 1.77 carats and showcases the unmistakable richness and allure that fine Burmese rubies are known for. Cut in a softly rounded cush...

Movado of Enamel 18K Pocket Watch. 20th century. Enameled front and back case. Winged griffins and wheat borders designs. 15 Jewel Movement. Serial Number 34978. Case is marked 750. ...

This sparkling earring set features a pair of vibrant earth mined emeralds with a pave diamond halo. A stunning pair of stud earrings designed perfectly for an eye catching engagemen...

By Jarretiere this set is a perfect gift for anyone! Very comfortable! 18 karat white and black gold. Black gold wire wrapped to create separate sections and a unique look. Can be worn with diamonds showing or diamonds not showing. Ring has 10 round diamonds, approximately .20 total diamond weight, bezel set in white gold. Bracelet has 30 round diamonds, approximately .60 total diamond weight, bezel set in white gold. Both ring...

Beautiful refinished American of Martinsville end table with a gorgeous and unique top!

After Pierre Auguste Renoir (1841-1919) Trois Esquisses de maternite (Three Studies of Maternity) Heliogravure with etching on velin paper, 1893 Unsigned as issued Edition 1000, ther...

Original Laura Gibson This three string warm brown beaded necklace is perfect for Fall! 22 karat yellow gold clasp and decorative rondells Three strands 1...

Dorain Gray with Rainbow Scarf Color lithograph, 1968 Signed in pencil lower center of sheet (see photo) Annotated by the artist: A/P for Artist's Proof (see photo) From: The Picture...

This fierce "guy" is beautifully made by Pampillonia Designs, Inc. 18 karat yellow gold tiger with etched fur design 2 round ruby eyes 1 prong set round diamond, approximately .05c...

Large rare vintage Royal Doulton 7118 porcelain character jug of Sir Edward Elgar featuring an architectural scroll / pillar with Union Jack flags and Land of Hope and Glory text. M...

This exceptional Shaker Elder’s high-back ladder-back armchair beautifully captures the timeless minimalist aesthetic and exceptional utilitarian design of historic American craftsma...

Pair of Theodore Alexander rosewood and leather armchairs. Beautiful rosewood finish on the curved back and scroll arms. Dark brown leather seat has brass nail heads surrounding the ...

Please scroll down to read IMPORTANT INSTRUCTIONS ABOUT OUR STUMPS before purchase! Why buy BERTU HOME stumps? KILN DRIED Our stumps all go through a drying process in our kiln, s...

Holiday in Camp -- Soldiers Playing "Foot-Ball" Wood engraving, 1865 After Winslow Homer Unsigned (Signed in text in title caption, see photo) Published in Harper's Weekly July 15, 1...

Sprong in de Lente (Deux Personnages) Color lithograph, 1963 Signed, dated and numbered in pencil (see photos) Edition: 25 Signed, dated and numbered in pencil Printed on Arches pape...

This matching pair of Chinese cloisonné enamel double-gourd (hulu) vases represents an exceptionally fine example of late Qing Dynasty or early Republic period metalwork, crafted as ...

Beautiful large art glass vase in Okra glass by Richard P. Golding, "Golden Wood II" 2006. This Asian influence vase features a leafy tree reaching toward the sky in shades of gold a...

A Ceylon blue sapphire glows in a deep, velvety blue at the centre of this solid 14K yellow gold ring, framed by eighteen earth-mined diamonds. Sri Lanka has produced the world's fin...

This is a 60" round copper top table MCM style design with heavy cast iron base and rubber edge guard. Measures 29" high and 60" diameter and is in excellent condition. ni62619

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

Dating from the early 20th century, this magnificent French Rococo-style mantle clock seamlessly balances striking antique artistry with the effortless convenience of modern timekeep...

A matched pair of aquamarines in a soft sky-blue sparkles in these solid 14K yellow gold trillion stud earrings. Aquamarine, the birthstone of March, is prized for its clean, watery ...

Set of 6 Mid Century Cera 22K Gold World Atlas Old Fashioned Rock Glasses Good Condition Little or no ware Gold is intact

In Search of New Beginnings Screen print, 2021 Signed in pencil with the artist's initials lower right Titled lower right Numbered lower center Condition: Mint Sheet size: 11 3/16 x 10 inches Edition: 20 Printed by Rebekah A. Wilhelm, Cleveland, master printer This screen print is related to the artist's first public sculpture commission, created for the Cleveland Public Library...

Untitled (Abstraction) Oil on canvas, date unknown Signed lower left corner: Zayon Canvas size: 13 3/4 x 19 1/2 inches Frame size: 19 3/4 x 25 1/2 inches Condition: Very good Born i...

Untitled (Mexican Village) Ink and watercolor on paper, c. 1960 Estate Stamp Lower Left Provenance: estate of the Artist Condition: Excelleent Image/Sheet size; 8 3/4 x 5 3/4 inches ...