Decorative Art

Italian modern large and very colorful abstract painting, 1980s. Decorative wall work, in fabric, with abstract subject and square-shaped frame in light wood. Background with a predo...

Pablo Picasso Tormented face. Ceramic plate 1956. Large unglazed light earthenware charger with raised design from the “Tormented Face” series . Produced by Madoura in 1956. Numbered...

Bedside depicting the Madonna, bas-relief on a 925 thousandth silver plate (the most valuable), made with artisanal procedures. Italy, 1990. Wooden frame.

The artwork by legendary poster artist Silvano "Nano" Campeggi on this 1966 re-release Italian locandina is simply stunning. Surely the best artwork of Paul Newman and Elizabeth Tayl...

Title: Rare Antique Natural History Prints Featuring Crustaceans, Marine Life, and Detailed Insects Description: This exquisite set of four original antique prints offers a fascinating glimpse into the world of natural history as illustrated in the 19th century. Published in 1832, these hand-colored engravings are part of Gottlieb Tobias Wilhelm’s monumental work "Unterhaltungen aus der Naturgeschichte," a series that spanned 25 volumes and showcased the unrivaled craftsmanship of Augsburg’s famed engravers. Each print is a stunning representation of marine life, insects, and their detailed anatomical features, brought to life through the meticulous copperplate engraving technique. The vibrant hand-coloring adds depth and realism, showcasing creatures like lobsters, crabs, and other crustaceans in unparalleled detail. Highlights include an intricate depiction of mantis shrimps and their segmented bodies, as well as antlion larvae set against textural sand environments. These illustrations were not only artistic achievements but also served as scientific documentation during a time when the natural world was being explored and categorized. The engravings' sharp lines and vivid hues reveal the precision and dedication of the artisans involved. The natural history genre remains a beloved subject among collectors, making this set both a beautiful decorative piece and a valuable addition to any antique print collection...

Sensational image by Gustave Doré Woodcut engraving Published C.1880 Unframed. Free shipping

Classic Gold Tafla O3 Wall Mirror by Zieta Dimensions: D 6 x W 79 x H 124 cm Material: Stainless steel. Finish: Classic gold. Available finishes: Stainless ...

Wonderful print of St Matilda Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

Painting texturised scagliola artwork handmade in Italy by Cupioli available. Decorative wall panel handmade by the artist manufactured using the scagliola technique. Tha Coloured A...

Antique map of Ohio ( Northern part ) Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

Highly Decorative Wood African Mask

Antique costume print titled 'Shah de Perse'. Original antique print of a Shah of Persia. This print originates from 'Moeurs, usages et costumes de tous les peuples du monde' by Augu...

Wonderful print of St Teresa of Avila Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

French Majolica oyster plate Orchies, circa 1910.

An antique Grand Tour faux book of Neoclassical plaster intaglios. Dating to the early 19th century, this intriguing book encloses twenty-five classically themed Italian medallions...

Fantastic original and very rare first-year-of-release UK quad Film poster for Kiss Attack of the Phantoms. From a collector who worked in adverti...

Our Two Dice Set features two 6cm wooden dice with delicate malachite inlays. Elevate your game nights with these stylish, handcrafted gems. Celebrating the exquisite art of woodwork...

A large and beautifully carved Victorian Tudor revival oak wall hanging panel, handcarved with two ornate arches, Vitruvian scrolling and four male and female herm-type figures. Formerly a fireplace overmantel...

Wonderful print of St Stanislas Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

Rare Majolica pink flower wall pocket signed Delphin Massier, circa 1880.

Antique print illustrating Robert le Mennoit's vision after a storm that destroyed his ship. Robert le Mennoit, Robert l'Ermite, or Robert the Hermit saw a vision of God after a huge...

Great image of medical interest. Unframed. Published, circa 1900.

Fabulous abstract depiction of a Japanese Samurai in ceramic tile, 12 pcs framed and matted. Beautiful tiles, in absolute stunning colors with exquisite lines. In excellent vintage c...

Unusual French Majolica asparagus plate with 3 spaces unsigned, circa 1890.

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

Bark cloth or tapa cloth mounted on plywood and trimmed in mahogany. Bark cloth, or tapa, is not a woven material, but made from bark that has been softe...

Majolica butterfly plate Josef Steidl Znaim, circa 1890.

This original 18th century frame is silver gilded over copper. It is elaborately embossed and chiseled. The cartouche is surrounded by rocaille and volute motifs. The Carta is mounte...

The Polish film poster for Ken Loach's gritty 1960s Classic movie Poor Cow. Mlodozeniec's brightly colored mini skirt artwork against the black drop is striking. Actual vintage poster size...

Top museum quality carved Swiss barometer / weather station This antique barometer is not only about the actuality of the weather, it is also a true work of art and a real pleasure to look at. The attention to detail is incredible and it must have taken a true craftsman weeks rather than days to design and finish the carved frame alone. At a later stage, the handcrafted barometer (in German) and the thermometer (in Celsius & Fahrenheit) were integrated. Notice how the Edelweiss Flowers...

Majolica sealife platter Vallauris, circa 1950. High relief of 2 fishs, seaweeds, starfish. Nautical style. Measure: 8.3" diameter.  

Very rare and fantastic deluxe oversized illustrated still for Stanley Kubrick's seminal sci-fi 2001: A Space Odyssey featuring the iconic design by Bob McCall. Printed in Italy in ...

Great images of apples and pears Lithographs with original color. Published, circa 1900 Unframed.  

French Faience Plate Model "Callot" Longchamp Circa 1920. Inspired by Jacques Callot Jacques Callot (French c.?1592 – 1635) etchings. He made more than 1,400 etchings that chronicl...

Sensational image by Gustave Doré Woodcut engraving Published C.1880 Unframed. Free shipping

Antique Black Forest Roe Deer Trophy on Carved Plaque Item e7317 A great antique abnormal roe deer (Capreolus capreolus) trophy on a wooden carved plaque. The trophy was shot around ...

Special Japanese vintage rain gear "Mino" from Yamagata Prefecture dated by Taisho era. A true rarity among Japanese artifacts, this raincoat showcases a combination of unique materi...

Beautiful tile mural with the "PRAÇA DO COMÉRCIO LISBON PORTUGAL" motif finely painted. Quantity: 143 tiles Tile mural size: 76.7"W X 64.9"H (195cm X 165cm) Tile size: 5.9"W X 5.9...

Fine and rare pair of antique Dutch Verre Églomisé reverse oil paintings on glass panels - featuring moody landscapes with a castle and church, having ...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

Set of 6 antique butterfly prints. Most likely originating from an edition of 'Unterhaltungen aus der Naturgeschichte. Insekten' by Gottlieb T...

Rare 1940s German pressed botanical specimens from a collection in Stuttgart. The specimen is hand-picked and pressed, and each is labelled with the plant's family name, German name,...

ABOUT An original rare Gay Olympic Games poster with "olympic" in the title. Unframed. CREATOR Designed and Illustrated by Robert Kalthoff. Printed ...

Antique print titled 'The Elton Pear'. This print originates from 'Transactions of the Horticultural Society of London' published circa 1835. In Transactions of the Horticultural Society of London we find some of the most beautifully illustrated and vibrant botanical and fruit prints...

Very Large Landscape Verdure Pastoral Oil on Canvas, Ch. Boulogne Cows Watering Verdure painting. Signed Artwork. The “Cows Watering by the River at Sunset” 4 feet height x 7 feet &...

Incredible postmodern three piece wall art. Each piece is comprised of wood in the shape of a triangle. Displays and green paint over paper.

Lovely French Majolica plate pink flowers on a blue basket weave, circa 1880 attributed to Salins.

Antique Persian Hamadan Oriental rug, Small size A vintage Persian Hamadan oriental rug in small size, size 6'6"x 4'5", circa 1920. This lovely hand-knotted carpet features a hera...

Original antique print titled 'Der Löwe und die Löwin mit ihren Jungen (..)'. Original antique print of a lion, lioness and lion cubs. Published by Karl Jose...

18th Century French carnation plate , Manufacture of Sceaux. Border déchiqueté. Sceaux ceramics are presented at The Getty Museum and The MET. The ceramic manufactory at Sceaux, outs...

HERMES 2000 for Sempé- Litography "Premiers Pas dans le Siècle"

"Tafla O4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: AURUM (2021) Material: Polished stainless steel F...

There are some great Barbarella posters and the Japanese version featuring Jane Fonda floating in space is one of our firm favourites. Great colours ...

Wonderful set of 6 architectural prints Copper-plate engravings after the original antique architectural drawings by L.Carter Published...

Wonderful set of military gentlemen in full dress Chromolithographs Published C.1900 Unframed. Free shipping

Lovely image by Beatrix Potter Rescued from an early edition of " The Tale of Two Bad Mice " Possibly a 1st edition from 1904 The measurement given is the paper size not the actua...