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Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1310 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1311 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1312 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1313 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1314 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1315 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1316 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1317 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1318 / 3475 -
Vintage circa 1950s INVENTO thermometer cufflinks made in Germany, featuring miniature temperature gauges with black dials, red indicators and faceted gold-tone surrounds. One displays Fahrenheit and the other Celsius. Marked MADE IN GERMANY. Surface wear and scratching consistent with age and use, as pictured. Approx. Dimensions: 1” diameter each 1319 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1334 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1335 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1336 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1337 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1338 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1339 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1340 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1341 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1342 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1343 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1344 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1345 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1346 / 3475 -
Vintage Judith Leiber New York shoulder bag crafted in glossy black exotic skin with a structured, rounded silhouette. Features a gold-tone metal frame, button closure, and long chain shoulder strap. Metallic gold leather interior with original Judith Leiber New York plaque. Shows age-related wear and tarnish to the hardware, with visible red staining/transfer to the interior, as pictured. Approx. Dimensions: 4 1/2” W x 3” H 1347 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1356 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1357 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1358 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1359 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1360 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1361 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1362 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1363 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1364 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1365 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1366 / 3475 -
Exceptional gelatin silver photograph by renowned Louisiana photographer Clarence John Laughlin, depicting the receding gallery of structures at Evergreen Plantation in Louisiana. The strong geometric perspective and repeated architectural forms are characteristic of Laughlin's surrealist-influenced photographic work. Appraised at $2,000 The photograph is signed in pencil by the artist in the lower right margin and titled and dated in pencil at lower left. The reverse bears the personal inscription: “For ‘Sunny’ with the hope that she will have sunshine all her life! Clarence John Laughlin 1983.” The work measures approximately 11 3/4 x 14 inches sight, presented in a black frame with matting. The image is particularly notable for its Louisiana subject matter. The High Museum of Art identifies Receding Rectangles as a photograph of the porches of former slave quarters at Evergreen Plantation in Wallace, Louisiana, with Laughlin emphasizing the repeated geometry of the structures as they recede into the distance. 1367 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1368 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1369 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1370 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1371 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1372 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1373 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1374 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1375 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1376 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1377 / 3475 -
Roy Lichtenstein’s iconic Aspen Winter Jazz poster, created for the Aspen Winter Jazz Festival held February 26, 1967. The bold Pop Art composition depicts a stylized jazz musician and instruments using Lichtenstein’s characteristic Ben-Day dots, strong black outlines, and vivid red and yellow palette. The original 1967 work is a color screenprint on heavy glossy white paper, approximately 40 x 26 inches, printed by Chiron Press, New York, and co-published by Lichtenstein and Leo Castelli Gallery. The National Gallery of Art identifies the work as catalogue raisonné Corlett 44. The example photographed is framed in a narrow silver-tone metal frame. Signature, edition number, Chiron Press blindstamp, and reverse have not been verified from the supplied photograph. This is important because authentic 1967 impressions exist both as a signed/numbered edition of 300 and as unsigned/unnumbered impressions. This piece does have some spots on the print. 1378 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1379 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1380 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1381 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1382 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1383 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1384 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1385 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1386 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1387 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1388 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1389 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1390 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1391 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1392 / 3475 -
William IV carved rosewood pier table, circa 1825, featuring a rectangular marble top above a frieze drawer with decorative brass pulls. Raised on acanthus-carved scroll supports terminating in carved dolphin feet, with a mirrored back and shaped plinth base. Appraised Value: $5,000 Approx. Dimensions: 30 3/4” H x 31 1/8” W x 12 1/2” D 1393 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1394 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1395 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1396 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1397 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1398 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1399 / 3475 -
Jack Youngerman (American, 1926–2020), Yellow Push, 1966. Color lithograph featuring Youngerman’s characteristic hard-edge organic abstraction in saturated yellow against a pale ground. Initialed and dated “JY 66” in pencil at lower right and numbered 24/90 in pencil at lower left. Sight: 33 1/4 x 24 1/2 inches. Presented under glass in a silver-tone metal frame. Overall discoloration/toning is visible, particularly along the sheet edges. Not examined out of frame; full margins reported. Provenance/Literature: A Kaleidoscope of Art: The Sunny and Roussel Norman Collection, Alice Rae Yelen, New Orleans Museum of Art, 1987. (This piece was owned by Mrs. Sonny Norman) 1400 / 3475
Photos 1301 - 1400 of 3475
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