Michelangelo Meucci Furniture

Vintage framed Still Life Oil Painting of Fruit with Pitcher. Framed in a lovely wooden frame. Ready to hang with wire along the back. French, circa 1920. Size of frame: 16 x 18 i...

This is a one-panel wooden door made in Japan around the 20th century. The material used is presumed to be Japanese cypress or Japanese cedar, and the delicately straight grain of th...

Possibly late 18th century but most likely 19th century painted arched painted panel. Either a panel intended for a trumeau or to be inset into wall boiserie as a trumeau. The upper ...

Sepia studies by Tomasz Rut (Polish, 1961- ) based on Michelangelo's Ignudi as seen on the ceiling of the Sistine Chapel in Rome, mixed-media (sepia cra...

"sunbathing", a unique wall hanging. Paste resist painting on a thick woven fabric, by Michael O'Connell, mid century, UK. An impressive piece. Michael O'Connell (1898 – 1976) was an English modernist artist who worked in Australia between World War I and World War II and then in England. He is best known as a textile artist with significant works held in the Victoria and Albert Museum, the Museum of English Rural Life, the National Gallery of Australia etc... He was commissioned to produce a very large 56 meters long wall hanging...

Roosters and Hens in a Barn 19th century E. Binam (Belgian? 19th century) Oil on wood panel 8 1/4 x 5 /12 (10 1/4 x 13 1/4 frame) Though little is known about E. Binam, he was clea...

English School Farmyard Scene with Horses and Goat Oil on panel, unsigned The Circle of John Frederick Herring Sr. Circa 1880 Presented in a later gilt and painted frame This finely rendered 19th-century English farmyard scene captures the quiet dignity of rural life, with a group of three horses—white, chestnut, and black—gathered beneath a tree in the warm light of late afternoon. A small goat stands to one side near a rustic stable, adding a note of charming domesticity to the composition. The surrounding landscape, with its distant hills and careful play of shadow and cloud, speaks to the artist’s sensitivity to atmosphere and detail. Though unsigned, the painting is executed in a manner closely aligned with the work of John Frederick Herring Senior, one of Britain’s most celebrated animal painters of the Victorian era. The careful modelling of the horses, their distinctive postures and anatomy, and the tranquil farm setting are all hallmarks of Herring’s influence. Painted in oils on a wooden panel, the surface retains a fine, even gloss and a warm palette typical of the period. The composition is both balanced and lyrical: the interplay of form and gesture among the animals invites the viewer into a moment of repose between work and activity, emblematic of Victorian ideals of harmony between man, beast, and the land. A delightful example of 19th-century English rural painting...

An important oil on panel painting by the great Tuscan artist Ruggero Panerai. It depicts one of his favourite and most successful subjects, wild horses portrayed in a natural pose o...

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

Originally a scenic backdrop for a French theater during the 1920s, this large painted canvas can be considered a trompe-l’œil. A trompe-l’oeil (literally “deceive the eye”) is a sty...

Iwase Hirotaka (1808-1877) Koi and Water Plants Hanging scroll, ink, color, gold wash and gold flecks on silk Inscription: Hirotaka Seal: Ille...

Bamboo in moonlight Gamo Rakan (1784-1866) Hanging scroll, ink on silk. Dimensions: Scroll: 201 cm x 58 cm Image: 137 cm x 45 cm In this early 19th century work by Gamo Rakan a light ink wash applied to the silk background silhouettes the moon and suggests the atmosphere of early evening. Even though it is a literati subject, Rakan’s bamboo is quite realistic with a strong decorative style. The painting finds its inspiration from Chinese Ming dynasty painters who often used a single-tone, jet black stroke to emphasize the calligraphic nature of bamboo. In a different era, decorative would have been seen as somewhat unrefined. But increasingly in the Edo period, it was the hallmark of high style. The Japanese people, in particular the rising merchant class, had gradually become apathetic toward the traditional Sesshu and Kano schools of painting. Chinese professional and amateur painters living in the port of Nagasaki during the 18th century had a profound effect on Japanese painting and the freshness of their style and its decorative appeal contributed greatly to its popularity. Gamo Rakan’s teacher, Tani Buncho...