Wall Decorations

Well carved with carved rocaille frame enclosing a crest comprised of three castles and a compass. At base has a carved face. Once hung on the yacht Paraffin and from the Michael Kit...

A Baroque style French walnut bracket with hand-carved putti, circa 1800. Born during the tumultuous years of the early 19th century, this French bracket features a semi-circular sha...

Giovanni Paolo Castelli, known as "Lo Spadino" (Rome 1659 – around 1730) Still Life with a Composition of Fruit Dimensions: frame cm L 76.5 x H 61 x D 6.5. Canvas cm L 55.5 x H 40 Th...

A collection of 18 framed prints from engravings of musical instruments from the book by Gabinetto Armonico, which was published in 1722. The book had a total of 150 instruments. The...

This is a English Antique Georgian bowfront cabinet, which has fixed shelfes inside and a locking door. The Chinoiserie decoration or Japanning as it is known in Europe, is beautifully decorated with Figures, Birds, Rocks and Tree's, and a Pagoda in the background. This is a lovely and useful piece of furniture when a quiet corner asks for some interest. The late Coco Chanel decorated her apparment with several pieces of Chinoiserie. Literature: English Furniture Of The Eighteenth Century, Herbert Cescinsky, George Routledge & Sons (1911) vol. I, p. 215, fig 224. Dated 1725-1730. Refs: The development of English black japanning...

This is a lovely Antique 17th Century Square Green Floral Flemish Verdure tapestry depicting a nobleman out for a stroll with two noblewomen on a beautiful summer day in the countrys...

Early 17th century French School "Virgin and Child " Oil on canvas (Original canvas, restorations, gaps) 71.5 x 60.3 cm Provenance Duc de Lesdiguières, according to an old label ...

Important 19th Century Italian Parade Plate Polychrome ceramic, with a wide brim, short frill, and a wide base. Reverse with ring support. Decoration on the rim with harpies and fan...

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.

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...

A fine and attractive pair of early 19th century English landscape painting in there original Thomas Lawrence frames. In the manner of Sawrey Gilpin (30 October 1733 – 8 March 1807). Medium: Oil on canvas Canvas Size: H: 48.5 cm ; W: 58.2 cm Framed Size: H: 68.5 cm ; W: 79 cm Artists Biography: Sawrey Gilpin RA was an English animal painter, illustrator, and etcher who specialized in paintings of horses and dogs...

18th century English noblewoman in a gold gilt ornate period frame. Lovely detail and color, coat of arms in corner. Unsigned. Without the frame the painting itself measures 29 inche...

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...

Giltwood Framed Limoges Enamel after François Boucher 'The Bird Catchers' France, Circa 1880s Framed in an elaborate hand carved pierced and giltwood t...

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 ...

Announcement Italian School Oil on canvas, of the 17th century Dimension: 75 x 62 cm. Good conditions.

A Four-dial Barometer/Thermometer in Mahogany, dating from the George III period, and English in origin. Signed at the base "R. Taylor Chepstow". The barometer with swan neck pedim...

19th Century copy of 18th century portrait of Robert Harley, 1st Earl of Oxford, (born 1661, London, died 1724, London). He was a British statesman who headed the Tory ministry from ...

2 English Georgian style (19th Century) walnut carved wall plaques with oak leaf and laurel wreath design (Belmont Estate, Long Island) (PRICED EACH) Related items: 040434, 040434, 0...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

Salvator Rosa last 17th century “Mecca” giltwood frame. Internal measurements cm 54.5 x 65. Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa...

A pair of Georgian style Mahogany lidded urns, from Dunkirk Manor. The wooden lidded finials on circular turned bases are complimented by acorn shaped tops. In classical Georgian s...

Antique Darning Sampler, 1791, by Ann Manning. The sampler is worked in silk threads on a linen ground, in a variety of stitches. Comprises of 15 darning p...

Jan Frans van Bloemen called Orizzonte (Antwerp 1662-Rome 1749). A Late 17th early 18th century Italian landscape with figures of the Roman Campagna. ...

Early 20th Century Print reproduction of Thomas Lawrence's "Pinkie" in a baroque style brass frame and elevated with this beautiful convex glass to add depth to the print. Sarah Goo...

This a print of the iconic The Blue Boy by Thomas Gainsborough from around 1770. It is believed to be a portrait of Jonathan Buttali, the son of wealthy ironmonger. This print come...

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

Important English School, " Young Gentlemen " 18th century Oil painting on canvas cm. 76.5x64 in gilded frame. Condition: work lined, good condition

Attractive Italian Gilt Leaf Wall Sconce with Stone Fruit. 1960's Italy. 45" x 25" x 4". Excellent condition.

Glorious set of 8 prints of mainly Scottish Castles. 2 from the English borders. Copper-plate engravings mainly after drawings by Moses Griffiths. ...

oil on canvas German 17th school follower of Johann Hulsman "Gallant Scene" written "Bonhams" in chalk on the stretcher Condition: Presents well, vibrant colours relined probably in...

A reclaimed Neoclassical mosaic panel salvaged from a London townhouse. The repetitive Neoclassical style pattern of thousands of colourful tiles looks almost infinite, while the two...

PRESENTING A FABULOUS AND RARE Set of 6 19C Irish Engraved Prints of Scenes of Dublin by James Malton. Set of 6 VERY RARE AND VALUABLE engraved prints of Dublin, Ireland scenes. These were printed by ‘Cahill Printers Ltd.’ circa 1880-1900. ‘Cahill Printers Ltd’ have been in existence since 1866 and acquired the rights to print these copies of the original watercolors by James Malton (1761 – 1803). Set of 6 19C Irish Engraved Prints of Scenes of Dublin by James Malton These scenes are: (in order): Rotunda & New Rooms, Great Court Yard Dublin Castle...

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

British Botanical Watercolor of Tulips, 19th century The beautifully framed and matted botanical watercolor depicts four different tulips. Dime...

A fine and large flemish 17th-18th century Baroque figural tapestry "A Royal Courtship" depicting an allegorical courting scene of a young princess meeting her prince at the watchful eye of a mesmerized queen standing behind her. A young girl supports the princess' dress train...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

A Late 17th Century Painting Depicting A Cavalry Battle Height: 115 cm Width: 75 cm Depth: 6 cm. Provenance: Private Australian Collection.

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Pair of 18th century gold Irish Georgian water-gilt gold leaf curtain pelmets. They are from a stately home in Ireland. They have a classic Irish shell...

Carved giltwood wall torchere candle holder, Italy, 19th century-1930s Hand-carved gold gilt wood candlestick sconce with wrought iron details. This w...

Late 18th century Georgian oak wall shelf with stepped crown molding which has dental detail as well, following down to a lovely hand scalloped apron over four shelves. the shelves a...

A fine antique 18th century map of the North American seaboard. Entitled "A New Map of North America from the Latest Discoveries 1763". By the Cartographer/Engraver - John Spil...

An exceptional early Cuzco School painting, naive depiction of the Holy Family, presented in a contemporary wooden frame. The Cuzco or Cusco school was a Roman Catholic artistic tradition that began in the 1500's in Peru, following the Spanish conquest and subsequent attempts by the Spanish invaders and missionaries to implement the Catholic faith and associated customs upon the Peruvian people. The school was established in the ancient city of Cusco which had previously been the capital of the Incan empire. Bernardo Bitti arrived in Peru in 1583, and with his arrival the acceleration of Cuzqueno Art flourished. During his two stays in Cusco, Bitti was commissioned to make the main altarpiece of the church of his Order, replaced by another after the earthquake, and painted some masterpieces, such as The Coronation of the Virgin, currently in the museum of the church of La Merced, and the Virgen del pajarito, in the cathedral. Cuzco School paintings are marked by their baroque influenced imagery and the subjects of the paintings shown with light focused upon them. Cuzco art...

Handmade museum-quality unframed reproduction of “Still-Life of Glasses in a Basket" by Sebastien Stoskopff. This oil painting reproduction captures the essence of Stoskopff's origin...

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

Possibly American and one of a later date. Each with an old white paint. Each hand carved.

Portrait Miniature of a young girl, Signed Corno 1817 The large oval miniature within a gold frame and raised hanging loop depicts a young girl fac...

An antique bronze bell reclaimed from an English church marked to F Baker. Dating to circa 1830, this historic bronze has a beautiful patina complimented by its original wrought iro...

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

Beautiful 17th century Italian school " Virgin of Sorrows " Oil on canvas Measures : 50.5 x 42.5 cm very good condition

A single, antique Portuguese Baroque architectural wall fragment or sconce made of hand carved partly gilded Pinewood, in good condition. Authentic and naturally aged patina. Minor f...

"Saul with the Pythoness Evoking the Shadow of Samuel". Beautiful oil on Canva, work of the English school of the entourage of Benjamin West. This oil on canvas represents a bibl...

A beautiful 19th century Italian oil painting on re-lined canvas presented in a gilded wooden frame. Done in Guardi style with gold frame. The...

John Thomas Serres 1759-1825 was an English maritime painter who enjoyed significant success, including exhibiting extensively at the Royal Academy,...

By Johannes Van den Aveelen and engraved by Holmice. Six views of Swedish royal residences. Hand colored engravings. Framed and matted.

Antique baroque style painted and gilt decorated wall bracket, 18th century. With a mid to late 20th century marble top, a gilt decorated cupid face with wings.

Pair of KPM porcelain plaques after Spanish Baroque paintings by Murillo German, Late 19th Century Plaques: Height 25cm, width 19cm, depth 0...