Decorative Art

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 32 x 41 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the fa...

19th Century Large English Majolica Passiflora Plate. Size: 9.7 inches diameter.

This large cartouche panel was carved from wood and hand-painted with a central coat of arms in Italy during the 1700’s. Inspired by a 16th century French style shield, the escutcheo...

With shield in center surrounded by gadrooned and hammered decoration.

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...

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

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

18th century French Baroque Old Master painting oil on leather. Old Master painting, French Baroque period 18th century oil on leather represents a lush imaginary landscape in ric...

Blue & White Spode Italian dinner plate Copeland circa 1920. 4 plates available.

Our Lady of the Assumption Triptych Italian, 19th Century in ebonized wood with brass applications with an enamel plaque in the center representing t...

Large antique gilded frame. finely carved in wood and golden with fine gold. circa 1900. measures: 120x105 and 77x64 cm good condition.

A pair of Continental, early 20th century floral painted lacquered panels. Framed in carved Dutch style gilt and ebonized frames.

Grand Baroque composition made in Naples in the mid-17th century intended for the private chapel of a noble Neapolitan family. In the early nineteenth century on the finely executed ...

Rare wooden antique garland from the beautiful Val Gardena, authentic '700 period - May be an overdoor , over mirror or over a padded headboard. M/1523.

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

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

Tin-glazed plaque in the style of old Dutch Delftware, quatrefoil shape with raised rim, painted in blue with a chinoiserie decor of a pavilion in an oriental garden. Two figures are...

A beautiful painting of the Italian school from the second half of the 17th century. The religious subject depicts the Virgin Mary with Jesus and Saint...

Gilt-framed oil painting on board, signed "W. Mulready." Mulready was an Irish painter who worked in London, and a member of the Royal Academy, whose work today hangs in the V&A Muse...

Gianni Versace "le Voyage de Marco Polo" for Rosenthal. Gianni Versace for Rosenthal. "Le voyage de Marco Polo" porcelain plate with gold decoration, bright colors in red, green and blue with camels, Chinese temple in the center and peacock motif around. Stamped, part of the Rosenthal meets Versace 25th anniversary collection. Porcelain plate, serving plater collector plate could be used as a decorative hanging...

A really gutsy and interesting early 17th century carved wood panel. If this kind of thing appeals to you, it does to me, than this is a compelling example of early carving and the p...

This original 18th century silver gilded over brass frame is elaborately embossed and chiseled. The central oval is surrounded by rocaille and volute motifs typical of the Baroque pe...

Hamilton Hamilton (American, 1847-1928) A large and impressive oil on canvas "Othello and Desdemona" after the William Shakespeare's play "Othe...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

19th century still life painting after Pieter Claesz (1597-1660) Dutch. This outstanding 19th century oil painting on copper shows an amazing intuitiv...

Pair of English Victorian (19/20th century) brass horse racing wall plaques with walnut frames.  

19th C. carved painted & parcel gilt architectural element. The piece is painted in antique white with 22K gold leaf details throughout. There is also a metal stem of flowers in the ...

A large Flemish 17th-18th century baroque pictorial tapestry "The Royal Garden". The large tapestry depicting an allegorical park-scene of R...

A fine flemish 18th-19th century Verdure landscape tapestry, the wool and silk tapestry centered by a scene of a tall tree within a forest background and a foliage border. Circa: 180...

A Venetian opal glass plate from the early 18th century with stunning luminescent qualities. An epitome of Renaissance and Baroque Venetian cult...

Amazing pair of baroque cornucopias, with painted glass, s. XVIII, Spanish origin, Andalusian school (Córdoba) Outstanding pair of Cornucopias in carved wood and gilwood decorated w...

"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...

An extremely decorative and large scaled Roman 18th century Baroque family coat of arms in White Carrara Marble. The crest with is centered by a ca...

Musical automaton picture clock by Xavier Tharin, c. 1860 Paris, hand-colored lithographed scene depicting a Mediterranean harbor scene with abbey, ...

Very cute small jardiniere to hang in the wall. In Meissen Germany porcelain, circa 1840, Excellent quality. Model snowball, the little bird and the ...

An antique pair of French Baroque painted and partial, gilt carved architectural elements or wall panels, in good condition. These ornaments are very ornate and decorated with large ...

We call him “Dr. House”, because he feels so calm, experienced and confident. This beautifully painted oil portrait dates from about 1780 and the antique frame fits this stately appe...

A very fine and large 18th century oil on canvas titled "Mother and Child" (Probably members of The Swedish Royal Family). Attributed to Michael Dahl (Swe...

Spanish Lace in 18th century silver pendant and pin composed of 2 articulated elements, a bow with garlands of flowers and a pendulum, studded with color...

A stunning and very unique Italian 18th century Baroque st. Tortoiseshell and Mother of Pearl wall decor plaque. The extremely decorative rectangular plaque displays a stunning and m...

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

Beautiful aquarelle from the early 20th century. Antique frame with anti-reflection glass (Museum Glass).

Large Berlin Iron Works cast iron charger with mythological figures of goddesses, putti, various animals and fish in relief. The central medallion wi...

Pair of French 18th century gold earrings in fenestrated gold earring with pendant elements, studded with rubies, diamonds and jellyfish. ...

Pair of very decorative Italian paintings, probably an old theatre set, from the 90s. Structure in old solid wood and linen canvas representing a vanity. S...

A very large hamered copper wall plate depiction Saint Martin on horse in relief. Signed A Louis. Early 20th century. Measures: Diameter 75 cm.

A very fine and Rare Russian mid-19th century Baroque style polychromed and gilded Religious Orthodox Christian Icon on a wooden panel with fi...

18th Century Watercolor Portrait of Sir John Mennes After Anthony van Dyck This 18th century small sized watercolor portrait, in ...

Spanish lace in 18th century gold in gold with a hollow body with a pendant element, ornamented with ribbons and flowers, with honeycombs studded with diamonds, with a pin placed a ...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

A stunning original antique watercolour painting of the historic 600 year old Meramid Inn in Rye. This is by the artist Annie L. Lee, it dates from around the ...

A large german majolica plate, circa 1880-1890s. The plate represent a german nobleman on a gold plated background surrounded by flowers. Made ...

This is a heavy large carved wood plaque depicting an embossed scene of the Resurrection of Jesus Christ. He is standing victorious and elevated over a U shaped cluster of clouds wit...

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...

An 18th century French bed warmer in copper with wooden handle. With the hammered decoration of a noble family own coat-of-arms. The last is showing ...

Spanish gold and diamonds lace pendant from the 18th century, in gold with a hollow body with a pendant element, ornamented with ribbons and flowers, wit...

Venetian harbor scene with St Marks in the background oil on oak panel. Exceptional quality. Signed illegibly lower left. From an old Philadelphia collection.

Frans van de Casteele (Kasteels) called Francesco da Castello (Brussels, ca. 1541 - Rome, 1621) Adoration of the shepherds Crowning with thorns First decade of the 17th century...