Los Angeles - Wall Decorations

Beautiful French Louis XV style plaster wall decor depicting a n instrument and floral details. Very large scale and can add some French classical a...

Beautiful etching by Raoul Dufy named "Baigneuse". This piece is signed in plate and includes a certificate of authenticity. Custom framed in cerused oak. For the Francophile!. Ar...

Great vintage hand-painted sign. No smoking and a crossed out cigarette hand-painted on white steel. Good vintage condition.

Giant metal paperclip slightly under 1.5 ft tall. Quirky accent piece or wall art. Good weight to object. Slight wear to metal exterior. Good vintage condition. Two available. Priced...

Great esoteric clay painting / sculpture. Wheel thrown clay with sculpted stalagmites. No cracks, but has some barely visible hidden minor chips on the stalagmites (covered in black ...

Large graphic tapestry created by renowned artist Michael Schrier (1949-2021). Mr. Schrier was a professor of fine arts at Otis College of Art and D...

Beautiful and rare vintage set of (8) Evelyn Ackerman carved Redwood panels with animals and people. Designed and manufactured by Era Industries in conju...

Loet Vanderveen was born in Holland and worked in fashion and later living in New York, London ,Zurich worked in the Zoo sculptures using great patinas. This orangutan is signed and ...

"Black on White on Black on White" is the name given by Segel for this composition. The subject is open to interpretation though some viewers could thin...

Two original monotype etching prints, “Duomo I” and “Duomo II” by artist Lisa Dlouhy, made in Italy 1981. Dlouhy is a Czech-Armenian artist who studied under the close tutelage of renowned Italian artist Manlio Guberti. Guberti was mainly known for his Cezanne-esque landscapes, and Dlouhy’s work echoes these sensibilities, most notably in the cubist compartmentalism of light. Here we see this methodology in her two depictions of the Duomo in Florence, etched from life (Guberti’s primary studio...

Raoul Dufy "Venice" gouache on paper. Nice new wood frame included. Framed size: 26" x 33" Image size: 16.5" x 23.5".

This signed Elliston water color or pastel horse heads in original hand crafted frame.This is a listed artist from California.

Gorgeous Normandy scene by Raoul Dufy. Lovely field of Normandy wheat. This lithograph has incredible color details and the white washed frame is elega...

Stunning framed taxidermy alligator with great coloring and very well preserved details. Hues of the scales range from a beige color on the outer edge...

Jack Brusca (1939-1993) was a painter who worked with an airbrush in acrylic paint. He won critical praise when he had his first one-man show, in 1969 at the Bonino Galleria on West...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

This is an amazing work in semi precious stones in Hardstones or Pietra Dura work. This is a Museum quality work. Framed measures 21 x 24 inches. In back has a partial detail of ston...

Federico Fellini 8 1/2 movie poster signed by one of the stars and cast, Barbara Steele. The poster, is a print of one of the original posters fro...

Original Andrea Tana Mixed Media Expressionist Painting. It is an unusual example with a whimsical composition. About the Artist Andrea T...

Vintage MCM Iver Rose oil painting of a clown soldier Additional information: Materials: oil paint, wood Color: Orange Period: Mid 20th Centu...

A vintage painting by Satish Gupta, New Dehli, India, 1965. Newly framed.

Brutalist mixed metal wall sculpture by Henrik Horst, 1970's. Typical of his style this features various geometric, heavily textured, patinated metal pieces in an abstract design. In...

Vintage French "Winter" landscape painting. Beautiful French traditional style frame.

Georges Spiro, 1909-1994. Surrealist /still life painting of the well known Polish/French artist, oil on board, signed., actual size of art work, is 13 x...

Very large still life painting in the style of Henri Matisse. Wonderful gold frame. Add some drama to your interior.

Andre Minaux pochoir. Numbered and signed 147/150 Minaux. Art size: 25: 25" x 17" Framed size: 36" x 28".

Beautiful jewelry box by the known American artist Ken Belgian. He worked in Taxco, Mexico in a modern/primitive style craft . This wooden box ...

Abstract Painting by Barbara Beretich (1936-2018). It is entitled Silver Wide and depicts a moder abstract landscape. It is artist signed and was painted in 1985. Additional infor...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Raoul Dufy "Normandy Farm" Lithograph signed by the artist. Charming and pastoral in technique and composition. Custom framed in cerused oak with hand-cut 4-ply art mat. For t...

Beautiful carving by the well Idar Oberstein artist Georg Wild. Made with multi gemstone and on top of Australian botryoidal phrenite specimen and yello...

Raul Coronel "Jeweled Village" ceramic wall plaque Art.

Dutch mid century, heavy, wall mounted mosaic art light made out of stone and ruby glass shards. Brings the designs of Willem van Oyen to mind and seeing the technique and the era it...

Original Dario Campanile female nude drawing, circa 1995. It is beautifully framed and matted. Additional information: Materials: Paper. Color: Gray. Period: 1990s. Art subjects:...

Measures: W35 D2.5 H45 Gorgeous 1970s oil painting with a yellow wooden frame and a green velvet liner. The frame is structurally sound, and the paint...

18th Century style Pierre Bouillon neoclassical engraving Prints of Roman & Greek Friezes. Beautifully framed. Additional information: ...

Vintage pool sign that reads "No Diving or Swimming Off Bridge". Bold reflective white letters on a classic green background. Great colors and scale...

French rope key holder by Audoux and Minet. Intertwined rope with 4 hooks to hang keys. Perfect key hook in the shape of a large key for your entryway. Fun pi...

Modern “Head Looking Up” painting by Jim Farrington. Provenance illustrated in photos. Additional information: Materials: Canvas, paint Color: Tan Period: 1980s Art Subjects:...

Signed and numbered framed brutalist print by Moshe Tamir. Numbered 9/12 and signed "M. Tamir" lower right. Beautifully framed. Moshe Tamir (Hebr...

This folky original painted hand made Holsteins Milk metal farm trade sign has the original chain for hanging.It has spots that has paint loss and mino...

Wonderful painting in oil on canvas by Danish painter Ernst Hansen (1892-1968), 'bird/trees in the wind' composition, framed, signed and dated 1924.

Philippe Halsman (1906-1979) Marilyn Monroe (At a drive-in, eating a hamburger), 1952 Gelatin silver print, printed 1981, numbered '226/250' in ink and portfolio copyright credit sta...

Beautiful continuous black line drawing of a woman by Jean Negulesco. Vintage color serigraph print with pink background and blind stamp in corner....

Beautiful abstract geometric wood leaf sculpture, by the well known Texas/California artist Betty Gold.Signed and numbered 10/15 in black ink.

Very nice and large metal sculpture by the well known artist Michel Anasse. This is one of the musician series, This is one looks like the bass p...

Vintage street sign that reads "No Loitering - Violators Subject to immediate Arrest". Red and white letters on a reflective white background. Goo...

Great Wall mounted bronze sculpture by the late well known artist Robert Graham . This sculpture is title " Jennifer" and can be display in a stand as shown and plastic is not provid...

James Gahagan was an American abstract ? expressionist artist/painter , also known as colorist.The size of the work by itself is 9 x 12 inches also signed LR, Gahagan 61. Has the ori...

Bouquet of roses by Hermine David, oil on cardboard linen, signed. Framed. Hermine Lionette Cartan David (19 April 1886 in Paris – 1 December 1970 in ...

Great sample of the French artist Michel Anasse in this metal welded surrealist sculpture of the series " Musicians ".

Vintage pool sign that reads "Save A Life". Bold blue letters on a white background. Great colors and scale. Small wave logo on the top middle of th...

“MAN AND WOMAN”, an original French modernist cubist drawing by Phillipe Marchand, ink on paper, 20th century. Gold leaf frame and linen mount with g...

Sculptural metal mobile signed and dated '92. Made up of 5 semi-circular metal pieces. Black, blue, red, yellow and white. Each level slowly rotates while hanging. Great piece of art.

Framed gouache on paper drawing by Jean-Jacques Blot. Signed: "Jean Blot 88".

Black Joe Jackson (American, 1922 – 1997) Title: Dign Rootz Medium: Acrylic painting on board Signed: Signed to the lower right Introducing "Dign Rootz" - a stunning piece of folk a...

A wonderful Hermes Paris silk scarf - the pattern is a vibrant palette of carousel horses - festive and ready for a spin!

"Le Rhino / The Rhino" color lithograph by the French artist Françoise Deberdt depicts rhino near a tree surrounded by birds and other flying figures in the naive stylle. Color lit...