Wall Decorations

Spectacular Italian oil on canvas from the 1700s, depicting a landscape with a forest, a stream with a small waterfall, horseback riders, and a traveler at twilight. Origin: Italy...

Italian oil on canvas from the 1700s depicting a landscape with characters, a waterfall and a city view with mountains in the background. Without frame Origin: Italy Period:...

A finely embroidered silk civil rank badge panel presented in a giltwood frame circa mid-late 19th century. The square rank badge is known in Chinese ...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Hercules Resting from His Labors Red chalk on paper...

Wonderful image after Rembrandt. Fine steel engraving. Published by Fisher, London. circa 1840 Unframed.

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...

Majestic Italian oil on panel, a unique and original work dating back to the late 1500s, representing the Sacrifice of Isaac. A highly impactful work, surrounded by an antique frame ...

Beautifully carved oak with original gilding with red bol showing through. With rectangular shelf over a scrolled volute and female face over scroll ...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

Antique Chinese Export rice paper pith watercolor paintings. Featuring a man and woman in blue robes; framed in deeply beveled floral Aesthetic Period giltwood frames. Measures: 1...

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Broadside [‘Einblattdruck] Confusion, Contitution, Reaction 33.5 x 28 cm Issued separately for subscribers to the “Deutscher Bruesseler Zeitung”, 15 April, 18147 No example worldwide in OCLC!! During 1847, the kingdom's constitutional problems were characterised by an ever increasing intensification of rivalries between the two major political parties, the Catholics and the Liberals, a factor which brought an end to the Unionism which had been established in 1828. In the midst of growing unrest, in 1847, a number of pacifists, humanitarians, socialist, and Christian democrats had founded the Association Démocratique and sought the solution to the country's problems in the democratization of society and all people. To Brussels, its new residents, Karl Marx...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

Italian oil on canvas from the 1600s, Salome with the Head of John the Baptist. The story: Preacher John the Baptist tells of Herod's incestuous and adulterous love for Herodias. He...

17th century Portuguese Tile Panel Restored Measures: 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued ...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...

A light-brown, green antique Austrian Baroque oil on canvas painting by Franz Xaver Hornöck in a hand crafted original black, partly gilded wooden frame, in good condition. The vinta...

This is a lovely pair of Blanc de Chine style wall pockets. They look fantastic framing a mirror! Each one has a pair of Asian figures supporting...

Nicely carved and framed pair of high relief carved and painted panels. Subtle colors with age appropriate worn finish carved depicting cranes (birds) amongst flowers standing in wat...

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

A very fine embroidered silk panel in giltwood frame originally from the Annette Martin Collection and exhibited at the Chinese Culture Foundation of San Francisco February 8th - Mar...

The Sacred Heart of Jesus, Oil Painting on Canvas 18th century An antique oil painting depicting the sacred heart of Jesus. Oil on canvas with p...

Pair of decorative 'Flower Garden' panels in plaster by British Master craftsman Geoffrey Preston MBE. The designs for these spring from a series of drawings in one of the artist's sketchbooks. The decoration was modelled in clay onto a clay base, using fingers, thumbs and small boxwood tools. The clay base enabled Preston to draw into the background, as well as build up from it, which gives a greater depth and emphasis to the modelling. A silicon mould was made from the completed models, and from this plaster casts can be taken. He uses Herculite No 2 plaster with burlap (hessian) and timber lathes to reinforce. Each pair is cast to order and signed and numbered on the reverse. The 'Flower Garden' panels are original works. Preston's aim is to use the fluid character of clay to make poetry in light and shadow in plaster. There is a strong influence of flowers and plant forms in his work, often in the context of architectural elements. He is conscious of proportion and the language of gesture, which is demonstrated in the flowing nature and harmony evident in his work. Geoffrey Preston MBE is a Master of traditional plaster-relief techniques who draws on eighteenth-century decorative art and sculpture, but combines it with his contemporary eye for design. He cites Giacomo Serpotta of Sicily and Egid Qurin Asam of Bavaria as two of the greatest influences on his work, both of whom stretched the boundaries of what people thought possible to sculpt in plaster during the Late Baroque period. In addition, he admires painter Rex Whistler and wood engravers, Charles Tunnicliffe and Joan Hassall...

Broadsheet, Ode to the City Library in the Wasserkirche in Zurich Venator, Balthasar [1594-1664]; Simler, Johann Wilhelm [1605-1672]; H. Balthasar Venator's verteutschtes Ehren...

Nature morte di fiori in vaso di scuola italiana del XVII secolo, coppia di due dipinti senza cornice. Olio su tela con sfondo scuro e fiori finemente definiti. Questi dipinti, nat...

Antique fine quality - Qing Dynasty - forbidden or seed stitch silk embroidery panel - metallic and silk threads - densely packed embroidery on a light weight damask pattern silk - m...

Assumption of the Virgin Mary. Oil on Copper Possibly late 17th century Following models by Guido Reni (Bologna, 1575-1642). Has faults. Oil on copper that shows the Virgin Mary seated on clouds...

A fine-quality antique Tibetan throw-size pictorial rug. Would make for a great wall hanging too Measures: 2'5" x 5'

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile or azulejo This tile painted in blue over white in ...

Beautiful pair of Italian baroque style walnut and parcel-gilt sconces. (Life size) Measures: 21" x 13.5" x 8.5".

Painting by Pietro Domenico Ollivero. "Manio Annio Curio Dentato receives the ambassadors of the Samnites", around 1740 The work in question depicts the scene of and was made by the famous italian painter Pietro Domenico Ollivero. The oval canvas shows on the back the card of the Galleria Caretto in Turin (Italy) with the authentic 1965 Giorgio Caretto. The work was also published in "I Piaceri e le grazie" by Arabella Cifani and Franco Monetti in 1993. The subject refers to the history of Rome and an episode narrated by the historian Valerio Massimo. Manius Curius Dentatus (330 BC - 270 BC), one of the great Romans of the 3rd century B.C. was a consul in ancient Rome, known for ending the Samnite Wars. Elected consul in 290 BC. along with Publio Cornelio Rufino, in the same year he fought and won the Third War against the Samnites and their allies, thus ending a conflict that had lasted for 49 years. He definitively subdued the Sabines and the Greek army of Pyrrhus in the battle of Benevento. He represented the ideal prototype of ancient Roman for the generations that followed in that he avoided public honours; Cato the censor, who collected his sayings, placed him among the great figures of universal history. For centuries after his death (in 270 B.C. while overseeing the construction of the second aqueduct in Rome) his military exploits were recounted and his moral rectitude was praised as an example for all the Romans. Ollivero, in the cultured choice of the episode, illustrates the moment when Manio Curio Dentato is found in his home, characterized by Roman walls, sitting by the fire, on a rustic bench while eating his meal in a "ligneo catillo" (wooden basin...

Small oil signed David Teniers the Younger (Antwerp, December 15, 1610 – Brussels, April 25, 1690) David Teniers the Younger (Antwerp, December 15, 1610 – B...

A large & fine antique Italian maiolica Istoriato charger, Urbino, circa 1800. This very handsome charger is hand-painted with Neoclassical nu...

A finely embroidered silk civil rank badge panel presented in a giltwood frame circa mid-late 19th century. The square rank badge is known in Chinese ...

Moses and the bronze serpent depicted in low relief carving in Italian Marmo Ross di Verona. Handcrafted replica of a Tau Cross XIII century artifac...

Part of Marcin Rusak’s signature Flora collection, the wall-hanging Flora Lens 65 constitutes a unique decorative piece that works well in a variety of settings. Based on discarded flowers carefully submerged in resin, this convex piece is entirely handmade in a labour-intensive process, in which everything, from collecting and processing the flowers to encapsulating them in cast resin, and to setting the material on an aluminium wall hanging system...

Asian Chinese style (19/20th century) stripped and carved wall plaque of figures with bull and cart.  

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Impressive Chinese late Qing dynasty four panel folding coromandel screen featuring carved soapstone. The lacquered panels are decorated with idyllic scenes of beauties in a pagoda p...

"Vertooninge van de ontsachlyke Spaansche Krygs vloot, in den Jaare 1588." Issued in: Bor, Pieter: "Nederlandsche Oorlogen", Amsterdam (ca 1680) Measures: Leaf: ca. 28,5 x 36 cm View: ca. 26 x 34 cm Fine hand color. On fine watermarked laid paper. Copper engraving of the downfall of the Spanish Armada of the ‘Onoverwinnelijke Vloot’, between 31 July and 12 August 1588. Naval battle between the Spanish and combined English and Dutch fleets in the canal. In the foreground, there is a large Spanish frigate being shot at by a small Dutch ship with the banner of the city of Leiden; on the left, there is a galley.  In particular, the engraving details shows the battle of Gravelines as the English sought to disrupt the Spanish fleet as it lay in wait for the army to board her ships. The fireships can be seen in the middle-right of the picture. It gives a feel for the compactness of the fleet and the disruption that the English hoped to cause in breaking it up. Johannes or Jan Luyken...

A rare pair of Flemish 18th century "Verre Églomisé" Reverse Glass Paintings, each depicting riverfront scenes with figures, fishermen castles, co...

These wonderful porcelain plaques were created in circa 1860 by the prestigious Konigliche Porzellan Manufaktur or KPM (German, founded in 1763). The plaques feature beautiful paintings based on works by the famous Seville-based Baroque artist, Bartolome Esteban Murillo (Spanish, 1618-1682). One plaque is decorated after Murillo...

'Sea Garden' panels in plaster by British Master craftsman Geoffrey Preston MBE. The designs for this pair of decorative panels spring from the series of drawings the artist made for the The Goring...

Rare find vintage Chinese fine silk tapestry of Eight Immortals. It is 100 percent hand made with fine silk of Chinese famous folklore of the legendary of eight Immortals crossing the sea. Eight Immortals using their own magic power to crossing the sea without ship. It is well known in Chinese cultural. From the pictures, you can see it is in very good vintage condition with detailed hand-woven skills Size: 54in H x 98in L Origin: China Circa: mid-20th century Material: Silk Condition: Very good vintage condition, hand woven, normal age wear. Disclaimer: Due to differences in monitor/screen settings, product colors may differ slightly between product photos and the physical product. P.S. The wood stick hanger on the top is NOT included. You may get it at Home Depot

This is a singular piece, a framed vintage Chinese gilt and inkwash miniature six-fold paper screen, that was possibly a salesman's sample, and it is beautiful. This is from the la...

Important oil on panel by the great Dutch artist Philips Wouwerman (also Wouwermans) (1619 – 1668) a painter of hunting, landscape and battle scenes....

Large painted antique porcelain plaque with musical party scene French, Late 19th Century Frame: height 58cm, width 77cm, depth 4cm Plaque:...

BLOME, Richard (d. 1705). A set of 5 framed plates from the first part of The gentlemans recreation in two parts : the first being an encyclopedy of the arts and sciences ... the s...

18th Century French Drawing 18TH CENTURY FRENCH DRAWING PORTRAIT OF A LADY FROM THE 18TH CENTURY DONE IN PASTEL THE FRAME IS BACK IN GOLDEN WOOD ...

A finely embroidered silk civil rank badge panel matted and framed in an elaborate giltwood frame circa mid-late 19th century. The square rank badge is know...

Elegant Chinese Export signed Silk paintings from the mid-century era. Excellent condition in gilt frames. Identical birds in differing hue and signature likely painted by different ...

O/6993 - Wall lamp with antique frieze in gilded wood. Fan with dried flowers on papier-maché and on parchment - 3 bulbs. On the wall it is a re...

Extraordinary oil painting on canvas depicting still life. It is a work of Paolo Paoletti, an artist born in Padua in 1671 and died in Udine in 1735, who from an early age...

Intriguing set of five Chinese watercolor paintings on silk depicting men occupied in their trades, executed in a soft delicate technique and presented under glass in four wood frame...

Folio Leaf: 37 x 23 cms. Hand colored copper engraving. Matthäus Merian der Ältere (or "Matthew", "the Elder", or "Sr."; 22 September 1593 - 19 June 1650) was a Swiss-born engr...

A refined Chinese export painting depicting ‘The Tea shop’ Canton, early 19th century Ink and watercolour on silk, H. 63.5 x W. 52.3 cm Framed in giltwood frame. ?The paintin...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with two slight figures in a beautiful and rich summer scene of a countryside with lush trees and ve...