Wall Decorations

Largest collection of Portuguese tiles in the world 17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white ti...

A charming pair of Italian winged putti wall brackets, exquisitely carved and gilded, with shell form tops coming from a Milanese private collection, of Italian origin. Good age r...

When we saw this sculpture hanging on the wall in a vintage estate in Rancho Mirage our jaws dropped. We had to have it. Made in the late 80d or early 90s by Lam Lee Group which were...

Magnus Jørgensen (1683-1738), Denmark. Painting: "Two Gentlemen at a Well-Laid Table." Signed: Magnus Jørgens(en) Pinxit et invenit Ao 1724. Oil on canvas, mounted in later black fr...

Beautiful wooden wall plaque relief sign showing all zodiacs, made in the Brutalist style in Germany in the 1970s. This is a wonderful Zodiac sign. This can be used as a Wall decorat...

Matteo Lovatti (Italian, 1861-1909) A Fine 19th-Century Oil on Canvas Titled 'Church V. State - The Fencing Lesson'. The finely detailed artwork depicting an interior tavern scene, f...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

AMBIANIC presents Brutalist Perforated Metal Relief Wall Art Abstract Sculpture 19.25 x 23.5 w x 3.5 d Original vintage condition Refer to listed images

17th century French School "Virgin and Child (Virgin of the Rosary)" Oil on canvas (Fragment, original canvas, tension bands, restorations) 47.3 x 37.9 cm This canvas was probably...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

Important Spanish School of the 17th century "Christ Carrying the Cross" Oil on canvas 73 x 60 cm with frame: 78cm x 65cm The work is inspired by ancient models, in particular by t...

17th century Antique Flemish Tapestry Wool & Silk Verdure Art Nouveau 4x6ft 122cm x 178cm "This is a very fine high quality rare authentic Antique Frenc...

This is a sublime piece by the hugely influential and world renowned Belgian artist Marc d'Haenens. The quality and scale of this piece cannot be overstated, a single enormous slice of agate sits within the Brutalist gilt body, this is surrounded by huge crystal shards, and onyx eggs...

GORGEOUS! MID CENTURY MODERN CUBIST/BRUTALIST PAINTED MULTI-MEDIA WALL SCULPTURE In the manner of Picasso's Synthetic Cubist Period 50" wide by 17" high by 3" deep Magnifi...

Largest collection of Portuguese tiles in the world 17th Century Portuguese Tile Panel. Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by ...

This fascinating Silas Seandel 'Ribbon' wall-mounted sculpture is constructed from brass and formed into an organically abstract art piece in a large 63" wide size. Unlike other 'R...

Molded copper rondel plaque of the great Flemish Master Peter Paul Rubens. Rubens is depicted in a high-relief bust, facing three-quarters right with a br...

Beautiful antique silver gilt hand carved wood wall shelf. Perfect for displaying art work or décor.

An antique set of two French door casing, in good condition. These vertical wooden wall panels have stucco applications and are abundantly adorned with the typical motives of the Baroque style: centered urns on pedestals with flowers...

Beautiful wooden wall plaque relief sign, made in the Brutalist style in Germany in the 1970s. This is a wonderful Zodiac sign. This can be used as a Wall decoration or as a decorati...

Monumental carved giltwood baroque wall bracket, with carved foliate scroll and putti motif. An unusually large wall bracket.  

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over wh...

In this listing you will find a spectacular antique stained glass window depicting Saint Stephen wearing a crown. The glass is placed into a gilt wood frame with rich floral ornament...

An assemblage of five architectural metalwork wall sculptures by the noted Baltimore, MD artist Raymond Herbert Berger (1929-2017). They can be arranged vertically (as shown) or hori...

Rectangular with leaf, flower and vase border, the scene depicting a man baking bread in an oven with a woman standing by a table and children frolicking with a castle in background ...

Shield form with a crown over a coat of arms with different symbols, the frame carved and gilded in the baroque style. From the Michael Kittredge collection.

These beautiful Baroque plaster cherub angel heads are an antique from Italy. Made of plaster and hand painted, these cherub angel heads feature intrica...

Extremely rare, important and large mixed metal wall hanging by metal artist and furniture designer, Silas Seandel. Torched Copper and Brass Curved Elements. Brutalist Modern Design....

Barthelemy Roger (Ladeve 1767- 1841 Saulx-les-Chartreux) “Marie Antoinette de Lorraine-d’Autriche, Reine de France”, after Elisabeth Louise Vigée-Le Brun, 1828, engraving, inscribed “Peint par Rossline de Suédois / Dessiné par Monanteuil / Gravé par B. Roger 1828” This engraving of Marie Antoinette was wonderfully done by Barthemely Roger in 1828. It is beautifully framed in the original 19th century gold gilded frame.

"ECCE HOMO" FLEMISH SCHOOL 17th Century Oil on canvas applied on panel, cm. 62 x 60.5. PROVENANCE Roman family CONDITIONS Oil on canvas glued on parqueted wooden support. Small re...

The 17th Century Flemish Aubusson Tapestry portraying a woman traveling or walking with her child is a captivating depiction of everyday life...

This stunning 19th-century French decorative fan is a testament to exquisite craftsmanship and artistic elegance. The fan leaf is meticulously hand-painted on vellum or silk, featuri...

Giovanni 'John' Bucci (Italian-American, 1935-2019) A welded metal sculpture composed of various found metal pieces, 1960s. 12 inches wide by 23 ¼ inches tall by 1 inch deep

20th century still life of leather books, a brass candlestick and an inkwell with quill pen painted in an impressionistic style. Oil on canvas and signed in the lower right corner.

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

An Portrait of a Lady and her Dog, 18th Century, European School The oval painting within its original oak leaf and beaded gilt-wood frame, oil on canvas. Height: 101 cm Width: 85 ...

Carlo Antonini (Italian, 1740-1821). Twelve antique engravings of architectural rosettes from throughout historic Italian buildings. Each depicts the profile and face view of the ros...

Italian School, 18th century. A masterful example of 18th-century Italian School artistry, this Old Master landscape painting captures the sublime beauty of an idealized European co...

Antique French Tapestry Verdure Birds Wool & Silk 1920 6x7 6' x 7'3" 221cm x 183cm "A magnificent antique French tapestry depicting birds amongst a verdure setting. Beautiful colo...

The engraving with frame shows a woman in profile, reaching out to grasp an object out of frame, her eyes hidden under a bonnet. This work is made after the Guercin "Guercino inv" and also bears the mention "F Bartolozzi...

Brutalist wall sculpture designed and manufactured by the Danish artist Henrik Horst, circa 1970s. Patinated metal construction mounted on a frame of wood.

A pair of Oil Italian Baroque paintings: - A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the Worl...

This rare 17th century panel, carved in high relief, is museum quality and without doubt the work of an important Flemish master carver. It represents the biblical scene of Mary and Joseph in Bethlehem for the census. Multiple figures surround the center in a well balanced setting. Rich, deep color and great patina, which developed over about 400 years, make this piece of art exceptional. The panel is mounted on a later dusty rose velvet backing. Condition: Small part of backdrop on right is missing. Joseph’s left hand is missing. Measurements: Image size - 8 ½” W x 12 ¼” H x 2” D Back panel - 10 ¼” W x 14” H x ½” D Entire piece - 10 ¼” W x 14” H x 2 ½” D Weight: 2 lbs. 8 oz.  

Beautiful wooden wall plaque relief sign, made in the Brutalist style in Germany in the 1970s. This is a wonderful Zodiac sign. This can be used as a Wall decoration or as a decorati...

Beautiful wooden wall plaque relief sign, made in the Brutalist style in Germany in the 1970s. This is a wonderful Zodiac sign. This can be used as a Wall decoration or as a decorati...

Portraits of the monarchs Louis XIII and Anne-Marie of Austria as hunters. Oil on canvas. Possibly Madrid school, 17th century. Pair of full-length portraits showing the characters against natural backgrounds, with landscapes with mountains in the distance and trees. The male character, who looks directly at the viewer, has dark hair and a fine moustache, and is dressed in a ruff, a doublet, leather gloves, a blued breastplate with gold details, breeches, white silk stockings and cavalier boots. The lady, who modestly lowers her gaze, has her head partially covered with a hat decorated with a brooch and white feathers; she is dressed in a ruff and a dress with a wide-skirted doublet and skirt, wide-mouthed gloves and a short cloak with a decorated edge gathered around the left arm and placed over the right side of the skirt. Alongside these “hunting” dresses, they appear carrying firearms and accompanied by large dogs. The king's dog is standing alertly, turning his head to one side. The queen's dog is sitting looking at her, with a collar and a rope that she holds in her left hand. The male subject is clearly the French King Louis XIII (Fontainebleau, 1601-Saint-Germain-en-Laye, 1643), monarch of France and Navarre (1610-1643), son of Henry IV of France and Marie de Médicis and father of Louis XIV of France. Compare with other portraits: by Rubens, painted around 1622-1625 at the Norton Simon Museum (Pasadena, California, USA); by Philippe de Champaigne, painted in 1635 and kept at the Museo del Prado (Madrid, Spain); the painting by Frans Pourbus the Younger from the 1920s at the Musée des Beaux-Arts in Chambéry (France); etc. Louis XIII married Anne of Austria, daughter of Philip III of Spain, in 1615. This was brought about by the marriage agreement of Fountainebleau (1611), which stipulated the future wedding of the Prince of Asturias, Philip IV, with the French princess Isabella of Bourbon, and that of the French monarch with Anne. Anne Maria Mauricia of Austria and Austria-Styria (Valladolid, 1601-Paris, 1666) was an Infanta of Spain and Portugal as the daughter of Philip III of Spain and Margaret of...

Pair of 19th century Italian gilt wall brackets. Brackets have beautifully carved and painted acanthus leaves topped with a flat shelf. Wonderful old patina. Brass hardware is affixe...

18th century, Italian oil on canvas still life by Pietro Navarra Oil on canvas, canvas measures: cm H 103 x W 164, framed measures...

Largest collection of Portuguese tiles in the world 17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by ...

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...

A large and impactful Brutalist etched copper work of wall art by Bernhard Rohne for Metallic Design Studio, signed, numbered, and dated. German-born, Vancouver-based artist and d...

Maximilian Pfeiler (active Rome, circa 1694-circa 1721 Budapest) Still life with peaches, grapes, figs and pomegranate Oil on canvas, Measures: cm H 63,5 x W 47. With frame cm ...

We offer this surreal brutalist sun sculpture in brass and bronze by Emaus Benedictine Monks, circa 1970. Emaus the name of the workshop of the Benedicti...

An exceptionally executed oil on canvas Baroque painting depicting "lovebirds" Paolo Malatesta and Francesca Da Rimini whispering to one another. At the feet of Paoio there is a dog symbol...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662,...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Netherlands 17th century, oil on canvas, doubled, 64 x 50 cm, without frame not signed.