Jessica Scott-Felder Furniture

Each panel decorated with a landscape. Each panel is H.69 in. by 22 in.

18th century, large Italian neoclassical oil on canvas four panels screen with Trompe L’œil These large screen is composed of four panels in oil on canvas painted. Neoclassical, dating to the second half of the 18th century. Each panel represents a trompe l'oeil, with a classical architecture with square section marble columns and large clogging. Inside the pink space of the first and third panels are painted, as inserted in a niche with bronze frame, ancient busts...

M/781 - Interesting large hand painted on wood high screen : from France, mid '800. It can be the background of an entire wall: an imaginary garden with flowers' triumph; on the o...

Three panel hand painted room dressing screen divider, Italy. A 1800s Italian Neoclassical 3 panel floor screen, room divider. Hand painted on ...

A tall, beautifully hand-painted on wood panel folding screen of Japanese style by artist Robert Crowder (b. 1911 - d.2010). Signed on the back side. After working as a missionary in Korea, Crowder went to Japan to study Nihonga ("Japanese-style paintings" are paintings that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. While based on traditions over a thousand years old, the term was coined in the Meiji period of the Imperial Japan, to distinguish such works from Western-style paintings) Robert H...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

Incredible hand painted scene of "Ballet Russe" with dancers in elaborate Deco costumes and fabulous details in the dress and shoes. This is a one-of-a-kind triptych panel which fills any wall with glamour and beauty. The quality of movement of figures and color is stunning. Dimensions for each of these panels are: Side panels are 24 inches in width, Center panel is 48.5 inches in width. This piece is in the style of Christian Berard, famous triptych panels. Beauty, color, and detail make this panel museum quality art. This panel was acquired from an important Palm Beach estate in Florida (originally purchased in Paris in the late 1950s said by previous owner) and we suspect that this Ballet Russes panel...

Monumental obelisk floor sculpture. Can be used indoors or out as a super cool, architectural decor accent. Constructed out of fiberglass and cov...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

A colorful floral tropical still life with island background by English artist Aubrey Beardsley (1872-1898). Beardsley was born in Brighton, Englan...

Oil on canvas abstract painting depicting figures and horse races. This bright and colorful artwork contains the use of bold, rapid brushstrokes and dynamic angles. Signed. Ar...

Nineteenth century Screen with grotesques Measures: (5) Oil on canvas, 158 x 185 cm The screen analyzed is made up of five panels, each divided into two panels decorated with elements of the natural world on the upper level and grotesque decorations on the lower level. The grotesque is a type of ornamentation often used in painting, sculpture and minor arts, for example in ceramics and tapestries, developed at the end of the 15th century. The five upper panels refer to as many famous Aesop's fables, i.e. the first panel depicts the fable of The frogs ask for a king, the second panel instead represents the roosters and the partridge, the third panel has as its protagonist the famous fable of the Hare and the tortoise, while the fourth The crow and the fox, while the last panel probably represents the episode of the Fox and the stork. The screen owes its name to its singular and ancient origin; after the discovery of these decorations in 1480 in Nero's Domus Aurea, a palace that had been buried for centuries, under the pretext of imitatio antiquitatis, they were re-proposed in contemporary palaces. The palace of Nero was visited by many explorers, who descended into it and had the impression of being inside a cave, which is why, as Benvenuto Cellini tells us, these particular decorations rediscovered there were called grotesque. The great success that the grotesques had is testified by Raphael's decorations in the Vatican...