Decorative Art

Antique portrait titled 'Henry VIII K of Engl (..)'. Old print of Henry VIII. Henry VIII (28 June 1491 – 28 January 1547) was King of England from 22 A...

Views of the Veneto Venetian school of the XVll century with original frames. Not relining. Inventory labels on the rack.

17th century Spanish Colonial Peruvian painting. Cusco school, oil on wooden panel depicting “Saint George and the Dragon” with intricate 19th Century car...

Chinese Watercolor 16th century Ancient Chinese watercolor from the 16th century framed after the beginning of 1900. Total measures: 85x52x6 cm a...

We are delighted to offer for sale this lovely pair of original copper plate prints dating to 1719 by Bernard De Montfauucon of Paris. Dom Bernard de Montfaucon, O.S.B. (French: [d? m?~fok?~]; 13 January 1655 – 21 December 1741) was a French Benedictine monk of the Congregation of Saint Maur. He was an astute scholar who founded the discipline of palaeography, as well as being an editor of works of the Fathers of the Church. He is regarded as one of the founders of the modern discipline of archaeology Montfaucon was born on 13 January 1655 in the Castle of Soulatgé, a small village in the southern town of Corbières, then in the ancient Province of Languedoc, now in the modern Department of Aude. Other sources claimed his birth date is in 16 January, the most accepted date. After one year he was moved to the Castle of Roquetaillade, residence of his family. When he was seven, he was sent to Limoux, to the college run by the Fathers of Christian Doctrine Montfaucon served in the French army as a volunteer and participated in the Franco-Dutch War of 1673. He was a captain of grenadiers and made two campaigns under the command of Marshall Turenne, participated in the Battle of Herbsthausen and fell ill in Saverne in Alsace. Because of his infectious illness he made a vow to Our Lady of Marceille to give one hundred livres to her sanctuary in Limoux and to become a monk, if he was able to return to his country as a result of her intervention. After the death of Montfaucon's father at the Château de Roquetaillade, in 1675 he entered the novitiate of the Benedictine monastery of Bream in Toulouse. There he learned several ancient languages: Greek, Hebrew, Chaldean, Syriac, and Coptic. In 1687 Montfaucon was called to the Abbey of Saint-Germain-des-Prés and he started to work on an edition of the works of the Greek Church...

George Edwards Set of Twelve Parrot Engravings with chinoiserie Frames, Natural History of Birds, Engraved by Georg Dionysius Ehret, Mid-18th cent...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

This print most likely depicts the attack and capture of Don Pedro, his wife, his son and many other Portugese. Don Pedro died three days later. Text on verso. This print originates ...

Interesting Flemish painting representing a characteristic tavern interior scene with characters intent on playing cards. Oil on canvas in a round shape. The frame is an original gil...

Antique botany print of the white lily. This print originates from 'The Botanical Magazine; or Flower-Garden Displayed (..)' by William Curtis. Publishe...

A gold, antique Swedish Gustavian pair of wall mirrors made of hand crafted gilded wood with its original mirrored glass, in good condition. The Scandinavian wall décor...

A wonderful set of four antique Dutch ‘Delft’ style manganese tiles hand decorated with biblical scenes probably originating from Rotterdam and dating f...

French Faience rustic oyster plate Moustiers style, circa 1940. Painting of birds and flowers.

First used about 450-500 years ago to reflect and disperse heat from a fire, firebacks were often cast with themes specific to the homeowner. Sometimes the iron would feature a familial coat of arms, or in the case of this 17th century semis de fleur de lys fireback, decorative motifs would represent the owner. The rectangular fireback has an arched top and a thick multi-layered molding along all edges. In the center is a raised heraldic shield with multiple fleur de lys charges, arranged in a pattern known as semis. A crinkled ribbon transverses the top edge, beneath a papal mitre and crozier topped with a volute leaf, indicating that the original owner was possibly a member of the church, possibly even a bishop. The iron has developed a fascinating chalky gray patina and can still be used functionally in a traditional fireplace...

Set of 5 antique horse riding prints. Published circa 1680.

"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...

Antique Dutch delft ceramic tile - hand crafted - hand painted cobalt blue glaze - unsigned - Holland / Netherlands - 17th century. Contained in a professional contemporary metal ...

American Impressionist Landscape Painting Signed Edmund T. Grigware in Newcomb Macklin Frame. Beautiful, sunny autumn landscape painted in oi...

Follower of Simon Vouet (Paris, 1590 - 1649) The Holy Family with bird Oil on glass, cm 20.5 x 23.5; with frame cm 27.5 x 29.5 The small painting examined, made on glass and...

Abstract Modernist Wood Inlay / Marquetry Figure wall plaque. Hand executed..Art Deco , African influenced.Several mixed species of exotic woods.

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

Magnificent 18th century oval painting representing a lovely milk girl.

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Antique print titled 'De Stad Montfoort'. View on the city of Montfoort, the Netherlands. Artists and Engravers: Engraved by H. Spilman. Condition: Good, general age-related to...

Antique portrait titled 'Sr. Edward Coke Lord Chief Justice'. Sir Edward Coke SL (1 February 1552 – 3 September 1634) was an English barrister, judge, and politician who is considered the greatest jurist of the Elizabethan and Jacobean eras. This print originates from Thomas Birch's 'The Heads of Illustrious Persons of Great Britain'. The portraits featured in the series, which were engraved by Jacob Houbraken and George Vertue...

Antique bird print titled 'Le Perroquet Tapiré'. Original engraved print of a parrot species. This print originates from 'l'Histoire naturelle des oiseaux' by Buffon. Buffon was the ...

A gold, antique Swedish Gustavian rectangular wall mirror with its original mirror glass and blue color paint, made of handcrafted gilded Pinewood, in good condition. The wall decor ...

18th Century French faience Nevers plate. 2 birds on the center with a flowers border.

A rare antique finely worked French barometer with lyre shaped crest thermometer above a large hexagonal framed barometer. The Parisian décor piece is m...

This print originates from ‘Biblia Sacra, dat is, de H. Schriftuer van het Oude, en het Nieuwe Testament, naer de laetste Roomsche keure der gemeine Latijnsche overzettinge, in neder...

Vintage Persian Kerman oriental carpet, size 12'0" H x 8'10" W, circa 1940. This vintage hand-knotted Persian rug features a stri...

Oil on canvas English school marine scene eighteenth century On the back part it has a label with a note in ink: coast of Scarborough-England E...

This large Shelley Harmony Ware wall charger is decorated with a fabulous Art Deco sunburst design-the pattern being 8823A, the A standing for Amber colo...

Oil On Canvas With The Battle Of Trafalgar 18th Century LARGE 18th CENTURY OIL OF THE ENGLISH SCHOOL ON THE BATTLE OF TRAFALGAR.VERY GOOD QUALI...

Antique bird print titled 'L'Ara Vert'. Old bird engraving of a green macaw. This print originates from 'Histoire Naturelle, générale et particulière, avec la description du Cabinet ...

Antique print titled 'Abbildung der Statt und Vestung Sovazchi, so von den Venetianern, durch den H. G. Lazaro Mocenigo, erobert und Demolirt worden den 18. May 1657'. Great battle scene of the attack...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

An antique pre-Columbia textile panel from Chancay culture in Central coast of nowadays Peru. Chancay culture thrived in the late Intermediate period/ late Horizon circa AD. 1000-1470. The panel appears to be an intact shawl or head scarf, indicated by the overall integrity with the finished edges. It is a gauze-like linen/cotton open-square woven panel with supplemental embroidered horizontal bands that alternate between hooked diamond motifs and silhouettes of perched seabirds, one of the most favored animal forms in Chancay art. The color is quite vibrant with red contrasted by two shades of yellow on a darker brown background. The scarf such as this is thought to be associated with ceremonies and magic realm of death and burial practice. The textile is displayed on a dark line background under a newly made acrylic shadow box. Reference: For reading on the bird motifs in Chancay textile art, see page 141-183 of the book "Ancient...

Midcentury 1940s etching of the National Cathedral, Washington, D.C. (1943) pencil signed by Reynold Weidenaar. Reynold Henry Weidenaar (American, 1915-1985) National Cathedral, Washington D.C., 1943 etching signed and titled in pencil lower margin, signed in plate edition of 25 “The following is from Fred W McCraw, art writer and artist. McCraw served during Weidenaar's last years as a consultant to the artist. Then, for several years after that, he also assisted the artist's family in managing Weidenaar's estate: Reynold Weidenaar was born in Grand Rapids, Michigan on 11/17/1915, and died there on 4/23/1985. He lived most of his life in west Michigan, with brief residencies away in Wisconsin, Kansas City, Missouri and in old Mexico...

18th century Italian hand painted on Alabaster and framed landscape painting.

18th Century Dutch Delft Manganese Tiles Pictures of Rearing Horses, Rotterdam, Circa 1780 The pair of framed manganese six-tile pictures each depict a...

Set of 2 antique botany prints. It shows the Sweet Scabious and the Purple-Headed Garlic. These prints originate from 'The Botanical Magazine; or Flower-Garden Displayed (..)' by Wil...

Antique print titled 'Cananor'. Original old print with a view of Kannur (or Cannanore), Kerala, India. Originates from a Dutch edition of 'Histoire générale des voyages' by Antoine-...

18th Century Spanish hand-painted glazed ceramic plate from Triana.

Antique bird print titled 'L'Amazone à Tête Blanch'. Old bird engraving of a white crowned amazon, a species of parrot. This print originates from 'Histoire Naturelle, générale et pa...

1940's Oil Painting on Canvas of Rural Scene. Rural scene oil painting on canvas in a gilt wooden frame.

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

An Italian carved and gilt wood wall plaque from the 18th century. This antique wall ornament from Italy is a nicely sized piece at roughly four ...

Francesco Zucco (circa 1575-1627) Gentleman’s portrait Measures: Oil on canvas, cm 120 x 140 The painting analyzed here belongs to the pictorial production of Francesco Zucc...

Steel printmaking plates from various Disney pictures. Beautiful trace remnants of original ink gives these plates a painterly appeal. Fabulous displayed as a collection or individua...

A French carved-wood panel from the 18th century. This antique wall decoration from France has a primarily rectangular shape, with raised carvi...

Antique bird print titled 'Le Papegai Maillé'. Old bird engraving of a gridded parrot. This print originates from 'Histoire Naturelle, générale et particulière, avec la description d...

Set of 3 antique botany prints. It shows the Scarlet Lychnis, Catesby's Lily and Narrow-Leaved Cyrtanthus. These prints originate from '...

Antonio Cifrondi (1665 - 1730), Attributed Man with stick - Saint Joseph Measures: Oil on canvas, Cm 115 x 79 - With frame, cm 139 x 103 This canvas is, for stylistic and c...

Hand colored print titled 'Grygallus minor - The Black Game Hen or Grows'. Beautiful print of a black game hen or grouse. This print originates from 'A Natural History of Birds: Illu...

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...

Mid-century French Faience oyster plate signed Quimper.

A pair of 18th century Louis XVI and Marie Antoinette Commemorative Pewter Plates This rare pair of 18th-century French pewter plates have been ...