Wall Decorations

This matched pair of antique hand-carved walnut wall brackets were salvaged from an early Victorian house in Montreal, Canada. The brackets are unsigned, but presumed to have originated from Canada in approximately 1850 in the period Victorian style. The brackets are solid walnut in their composition and have ornate decorative carvings. These wall corbels...

Colored Engraving of Arnold Böcklin's painting "The Island of Life" with a wooden frame

Stellar Frederick Harer Gold Gilt Wood Frame Circa 1920-1930’s. A Beautiful carved and signed gold glit wood frame. Dimensions outside 26 inches wide by 28 inches high and 2 inches d...

Artist: Mauro Fabiani (Spezia 1944-1999) Ink on kraft paper support Title: "Grande girasole" (Large sunflower) Artwork dimensions: 24x29cm Total Measurements: 45x58cm Signed: front l...

This a charming late 19th or early 20th century plein aire painting by the Italian artist Attilio Simonetti (1843-1925). The painting is inscribed al dorso "Viale Parioli Del Vero". ...

Ballarines on paper

Salvator Rosa, follower of (Naples, 1615 - Rome, 1673) Coastal landscape with armigers at rest Oil on canvas, 73×87 cm Monogram "SR" at lower left In overall very good condition ...

Original watercolor on board painting entitled "Diamond Head 1893", circa 1930s. The piece is in very good antique condition and measures 16.75" x 12.75". #2493 The piece came from the estate of a gentleman named Dr. Roger Dustin Mermod ("Poppy") who was born in Switzerland in 1888. Per the book, "Men of Hawaii", which is a biographical reference library, "complete and authentic, of men of note and substantial achievement in the Hawaiian Islands", Mermod came to Honolulu in 1917 to work at the Queen's Hospital as a physician and surgeon, eventually becoming Chief of Surgery. (Queen's Hosp., Honolulu, 1917-19; phys. and surg. Oahu Sug. Co., Waipahu, Oahu, Oct., 1919. to date. Member Med. Society of Hawaii, University Club...

A late 19th century French Aubusson tapestry panel, romantic scene ready to hang.

If you love the look of De Gournay wallpaper but not the price, this is for you. The colorways in this sections present our latest colorways, which can be applied to any designs an...

Our magnificent oil on canvas by John Henry Frederick Bacon, A.R.A. (1868-1914), entitled The Golden Butterfly, depicts the family of John and Julietta Boyd-Harvey at Tondu House in South Wales in 1907. It was exhibited at the Royal Academy in London in 1907, no. 572. This very large painting depicts the Boyd-Harvey family on the lawn of Tondu House in South Wales, with the mountain and valley of Tondu in the background. John Bacon...

Danish artist Knud Laursen (1924-) born in Herning in Jutland. The painting is called "Figurative landscape with farm in the background" and shows a land...

18th Century Italian Tabernacle Door Fragment. Unique piece that can go anywhere. Perfect for a sculpture on the wall in a hallway or niche.

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

A stunning and large piece of wall art that is in such harmony with any home. Amazing quality and design, this piece dates from the 60-70's It is clearly made by a skilled wood worke...

A fantastic vintage MCM original oil on canvas. A chic Abstract composition in deep rich colors. Signed by the artist. Acquired from a Palm Beach estate.

A late 19th century oil print in shadowbox frame, a Grand Tour souvenir. Orientalist scene with camel & pyramids, in gilt inner frame. Incredibly decorative & fun - made as a souveni...

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

Abstract Expressionist framed oil on newsprint paper painting, created in the 1950s by Peter Robert Keil in his studio in Palma. Signed 'Keil' on the ...

The measurements are: A=21x21inches high B=22x23inches high C= 22X21.5inches high D= 21x20inches high E=22x21.5inches high F=21.5x23inches high H=22x28inches high G=22x28.5 inches hi...

Remarkable Robert Natkin painting . It looks to be from the 1960s based on the color palette. It appears related to the portal paintings he did during ...

Straightlined small Art Deco office cabinet, cupboard or bookcase by De Coene Frères, Belgium circa 1930/40. Limed oak wood, free compartment dyed black on the inside. Two doors at t...

An antique painting of a hunting dog in a stable, assumable an Irish or French Red & White Setter. Painted with oil on canvas. It has no signature. Due to its uncommon dimensions, it...

A Korean Folk Art painting mounted as a hanging scroll. The watercolor on paper was likely dated from 1930s-1940s. The work depicts a "Jakhodo" theme (...

Robert Natkin Original Painting 1970's-Superb Example of its type. There were a number of works done in this style in the 1970s (this one is signed but not dated). The color palett...

Standout pair of antique chinoiserie carved wood wall plaques with classic form, having carved floral crests, paint decorated with male and female figures against a silver leaf backg...

A large French painting, featuring motifs from the Kabbalah, the dualism of yin and yang, as well as themes of seasons and the cycles of life. Dating back to the 1950s, it is a work ...

Internationally know American artist Larry “Vincent” Garrison who is known for his style of creating “soft skin”. Painting on the reverse side o...

Morbelli Porcelain wall plate “Talismano Di Carlo Magno” 1988 Italy.

A antique Chinese Qing Dynasty period "Honor Reward" calligraphy sign board. The wood carved signboard showcases Chinese characters with gold leaf on a blue lacquered background pane...

This functionalist wall shelf was made during the Bauhaus period in the 1930s in the former Czechoslovakia. It is known that Czechoslovakia was one of the leading producers of chrome...

Coppia di Fregi Dorati Italiani 1750 circa Intaglio Rococò a Volute, dorate in foglia d'oro su una preparazione di bolo rosso armeno. Sono molto probabilmete cimase di specchiere a...

Another wonderfully inventive, witty and well executed design by Maciej Urbaniec features on this original 1970s Polish CYRK (circus) poster. The ‘Cyrk” circus poster in Poland ap...

A beautiful old wall chart of a scene with date palms. This lithograph has very nice colors and the text is in Dutch. Due to age, this poster has acquired a warm, yellow undertone. T...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Large Carved Solid Teak Long Rectangle Wall Plaque Relief Sculpture Depicting Jangle Villagers.

This craft simulates the fastening of a jacket that fits us perfectly as if it were the creation of a tailor. With unparalleled aplomb upholds the naturalness of the fibers. FEATURE...

If you love the look of De Gournay wallpaper but not the price, this is for you. Measures: 3ft x 8ft The colorways in this sections present our latest colorways, which can be appl...

Beautiful petite gilded tole wall shelf Hollywood Regency style, vintage, Italy 1950s. Nice addition to any room or hall entry. Three smaller flaking of paint on the front, this is a...

Pair of 1700s Italian Wall Decorative Panels, a pair of blue laquer vertical frieze dating back to late 18th century, with a stunning  hand-carved gilded relief  candelabra decoratio...

Antique French school picturing an allegory of Arts : Muse Melpomene (you can tell with her traditional attributes - grapes crown and tragedy mask), wearing antique-style clothes, is...

Framed original vintage London Underground poster Kay Gallwey painted this poster in 1987. Flamingos wade through the water on spindly legs looking for fo...

Wall lamps made with the Fabscarte's wallpapers. The paper is mounted on a precious brass fan-shaped support. When turned on the lamp is suggestive of the lunar atmosphere and create...

Offered for sale is a print on canvas by Belgian born artist Sonia Drabkin (b.1961). This piece titled "Tango on the Beach" is signed lower right and on the verso and numbered 19/136. Drabkin's studio is located in Israel...

Decorative original antique door. The side of the door that was originally visible to the outside, is made of solid oak and the other side of th...

Ferdinand Desnos (1901-1958) self portrait French Signed and inscribed verso "Desnos autoportrait" oil on board

Decorate a living room, study or bedroom with this elegant and colorful landscape painting. Signed by the artist, R. Sanders in the lower left corner, the captivating work of art sho...

Circa 1960. We offer this Antique Battle Between Ships Oil On Canvas.

The hawks painting of this four-panel screen is hand-painted in watercolor, on squares of silver leaf which are applied by hand to the paper base over carefully jointed wooden lattic...

Fabulous quality with exquisitely delicate lace work accented with a hand painted center panel of Venus and cupid. The stem mother-of-pearl framework is finely and dramatically dec...

Tapestry Aubusson Harbor and birds.

Two competition entries with sketches of various pieces of furniture. One named “skiftespor” - changing lanes. Made for the furniture competition in connection with the Copenhagen ca...

Detailed hand painted Chinese picture on silk, featuring two Chinese workers processing tea leaves, with a white blossom tree and mountain background. It has a bamboo surround frame,...

A framed French rustic tapestry from the 18th century, envisioning a pedant seated on a barrel, instructing a group children in music and the arts within a verdant setting. Enclosed ...

A beautiful natural pigment painting on canvas by renowned Aboriginal painter Mabel Juli. This piece is a dreaming story. Glingennayn is the name of the Ngarranggarni (Dreaming ) rainbow. In the Ngarranggarni the rainbow was a man. As he climbed this hill, Glingennayn heard a dog barking and turned his head around to see where the dog was. He is still there on that hill, looking for the dog. The texture created by the natural earth pigment is typical of the ancient heritage of this remarkable art movement. Mabel Juli is one of the most dedicated and iconic of all Warmun artists. Her seniority and status as one of Australia’s most revered painters has emerged from a consistent and growing body of work characterized by bold yet simple compositions that are informed by nuanced and detailed stories passed onto Mabel from her family. Mabel Juli was born at Five Mile, near Moola Boola Station (south of Warmun), and was taken as a baby to Springvale Station, her mother's country. Mabel's' bush name' is Wiringgoon. She is a strong Law and Culture woman and an important ceremonial singer and dancer. Juli started painting in the 1980s, at the same time as well-known Warmun artists Queenie McKenzie and Madigan Thomas. The women used to watch Rover Thomas...

A mixed media collage by design house JOHN RICHARD. This piece combines elements of nature, featuring a depiction of a leopard crafted on bark paper. The collage is encased behind g...

Oil-on-canvas portrait of Lady Henrietta Crofts, Duchess of Bolton and daughter of the Duke of Monmouth, standing three-quarter length in white silk ...