Fabric Decorative Art

Abstract Oil Painting on Canvas by Fausta Dossi (B 1936) This is an abstract oil painting on canvas created by Fausta Dossi, a renowned Italian artist from Milan, in 2007. The pai...

Sailor's Woolwork of Royal Navy on Checkerboard Sea, circa 1865 The British sailor's woolie depicts a port side view of a three-masted ship with trapunto white sails on a rough s...

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

These stylish decorative Asian style wall art collages have been mounted in black lacquered wood and lucite frames. Each panel is ready to hang. These unique works of art are visibly inspired by both 19th century Chinese carved gold gilt and painted wood wall panel or plaques with scholar and warrior figures. As well as, Japanese Shunga. Shunga is a style that was painted by some of the best ukiyo-e artists of the day. This work features figurative art, daggers, gilding, textiles, natural bamboo and a musical harp...

Vintage giclee print on canvas of “Feu Sacre” by Homero Aguilar. Marked BH6-3181 and signed on the verso. “Born in Pasto, Colombia in 1953, Homero Ag...

A unique modern portrait painting on burlap of Vincent van Gogh, with a white wash finish / overlay. Signed and dated by artist on verso. Measures: 32.5” x 1.75” x 40.5” / Sans Fr...

"The Mules" Oil on Canvas Painting. Oil painting of a rural scene in a parcel-gilt wooden frame.

A light-blue, red still life oil on canvas painting, portraying a sunny day in a dining room with colorful flowers in vases, decorated by detailed wallpaper, painted by Vladimir Naïditch in a hand carved original gilded wooden frame, in good condition. The room depicts a console, small side table and a black French armchair...

Vintage Michael McGovern ""Walk on the Beach"" seascape painting featuring Nantucket beach, dunes and a fence leading to the ocean, circa 2000. Provenance: Estate of J. Frederic ...

Signed Oil on Canvas Of Ocean Waves by by Tortorella or Tartorella. Nice impasto composition with linen matting.

Turn of the century/early 20th century hooked rug, mounted for wall hanging on black linen and foam core stretcher. With evergreen ground and white and variegated striped border. Cen...

Original oil on canvas laid on board, coastal scene with vibrant sunset. Signed and dated AW, 1918. Artist: Albert Wang (b. Horsens 1864, d. Hellerup 1930) Condition: May benefit from surface cleaning. Minor retouches. Please refer to professional photos to clearly understand finish, details, condition, etc. With over 37 years of experience selling European antiques, our brick-and-mortar storefront, Round Top Ranch...

An embroidered silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar). This striking example features a two-tiered design with eleven inner and outer lobes radiating in a circular fashion. The red inner lobes feature floral embroidery design in satin stitches, the border with twisted chain stitches. The outer lobes are in the shape of auspicious "ruyi", which represents the head of Lingzhi mushroom, a symbol of longevity. Each showcases fine needlework of butterfly with spread wings and various floral motif. A small ball clasp remains on the front. This textile art is beautifully presented in a giltwood frame floating within a double mat of conforming shape. Detachable collars such as this were worn around the shoulders as part of the traditional Chinese garment...

Mid-Century Modern graphic Textile wall art.

A fine matching pair of embroidered silk civil rank badge panels (known in Chinese as Buzi) unframed. The panels feature borders of fret archaic key a...

Giuseppe Pitto (Italian 1857 - 1928) is often known for his paintings depicting pretty women in Italian street markets. This exuberantly painted scene i...

A green-brown, vintage Art Deco French oil on canvas painting of a slightly cloudy, sunny day at the Longchamp horse racing track, painted by Eugène Pechaubes in the original wooden ...

19th Century French oil painting on canvas of floral. Oil painting on canvas framed with a liner and gilt wooden frame.

Circa 1880s by Alfred De Breanski Sr., (1852 - 1928), England. This lovely oil on canvas, using the impedimenti technique of layering and glazing...

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...

Vintage Michael McGovern ""Foggy Morning"" nautical seascape oil painting featuring sailboats / boats docked at harbor. Circa 2000. Provenance: Estate of J. Frederic Gagel, owner o...

Lovely 19th century hooked rug with black braided border surrounding rug with vibrant red and teal highlighted Greek key border. Inset blue striped border around central floral medal...

Signed lower left. A genre scene along a Venice canal with ladies shopping. They stop at a vegetable stall under a white awning. The proprietor is seated doing needlework with her da...

An embroidered silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar), this multi-lobed t...

An early 20th-century East Turkestan Khotan Pictographic rug Measures: 5'11'' x 9'7''.

Midcentury painting on silk of a Sitting Buddha in turquoise, orange, pink and brown. Fukazen & Co and Magic Touch Art Gallery. Signed and dated 1963 in the lower left. Frame finishe...

A dark-green, yellow antique French Provencal landscape oil on canvas painting, portraying a sunny day in a small town, most likely in Provence, painted by Eugène Colignon in a handc...

Framed 18th century Italian gold leaf angel head 'putto' wall relief sculpture with burgundy velvet and adorned with rubies and garnets. There is ...

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

Victor Olsen sunset scene of sailboats oil on canvas. Classic nautical scene. Nicely framed. Victor Olson (1925-2007). Unsigned on front but from his Redd...

This delightful painting is a great example of Poul Steffensen's (1866-1923) pastoral work. A peasant boy is leading two cows to water by the lake. Ori...

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

Rare Peter T Quidley nautical maritime seascape oil painting featuring a view from Nantucket's ""Monomoy"" beach that shows a purple sunset over the sailboats in the harbor. Monomoy is a lovely area set on a quiet corner of Nantucket Harbor and only 2 ½ miles from town. Residents enjoy the private beach and views across the harbor of Coatue's barrier beach and wildlife refuge, Great Point as well as Nantucket town and the Yacht Club. This piece was made exclusively for Robert Wilson Galleries by Peter Quidley, and acquired by the Gagel Estate from the gallery. The unique purple canvas is reminiscent of a Rookwood vellum...

A blue-brown, antique Swedish oil on canvas painting of a sunny day at the Piazza Barberini, in Rome, Italy painted by Gustaf Wilhelm Palm in a hand carved original gilded wooden fra...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragments of fabric, scrolls, drawings, and books collected during his travels. This kite entitled "Boro" is patterned with Japanese indigo-dyed fabric scraps, sewn together to form a patchwork of contrasting patterns and shades of blue. The kite's design recreates the traditional practice of Boro stitching...

Vintage Giclee print on canvas of “Oceanide” by Homero Aguilar. Marked BH6 – 3/82 and signed on reverse. “Born in Pasto, Colombia in 1953, Ho...

Garment district NYC scene by Matthew Popielarz on canvas.

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

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...

A silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar), this multi-lobed textile piece was a detachable collar worn around the shoulders as part of the traditional Chinese garment accessory. With its origin dated back to the Han Dynasty and being used until the end of Qing Dynasty, the form evolves with time, but much of the ornamentation and fundamental symbolism remains the same. This striking example features a two-tiered design with eight lobes on each circle, all of which are variations of the shape of auspicious "ruyi", which represents the head of Lingzhi mushroom, a symbol of longevity. The inner lobes were made with appliqued patchwork of colorful silk. The outer lobes feature elaborate embroidery of assortment of colorful flowers, scrolling ribbons and butterfly, using mostly long and short satin stitches. The borders and outlines of the designs were lineated with metallic threads buddled in chain stitches. Small black pearls were used to link the piece together and most of them still remain. In Qing Dynasty, the silk collar with high quality was worn by noble or aristocratic women. The red color and the lotus boy symbol indicate that it was most likely part of the fashion accouterment worn during wedding ceremony. The collar is beautifully float mounted within a double conforming mat in a giltwood frame and wood backing. A stunningly presented period piece with story to tell. Reference: For a collection of Chinese embroidered collars...

Signed lower right and with the title on verso. A winter river landscape with bands of white and blue for the snow and river. Conifer forests are along the river banks. Measures: 1...

Sascha de Puchala abstract of Roosters. Heavy impasto textural piece of two cocks fighting. Signed lower middle. One small tear. See photos.  

An Italian pair of stretched canvas paintings from the 19th century. These antique wall decorations from Italy each have painted canvas stretched over an arch-shaped wood frame, nearly 4 feet in width. The paintings are Neoclassical in design featuring an urn with flame at center, symmetrically framed within an abundant display of scrolling acanthus leaves. A gold tone ribbon fabric with nail-heads outlines the outer edges of each framed piece. These 19th century Italian Neoclassic arched wall ornaments would add the grandeur of height hanging above a pair of window or door casings...

Framed oil on canvas "Extrication" depicting Savannah Lanes, Jeff Markowsky. Measures: Unframed 48" x 48" Jeff Markowsky’s paintings begin with an intimate and direct relationship to nature through painting outdoors in the open air (en plein air). From these oil sketches Markowsky investigates and extrapolates the power of large abstract shape relationships in the studio through a more synthesized internal process. Born in Prince Albert, Saskatchewan, Canada, Markowsky’s education as a painter began in graduate school with Gregory Crane and then with Frank Mason at the Art Students League in New York City. You will often find him in the summers hiking the Appalachian Trail or traveling on a plein air painting excursion while camping out in his truck. Markowsky recently won the Grand Prize at the 3rd Annual Saint Augustine Plein Air Festival in 2019. He was the 2018 Grand Prize winner of the Lighthouse...

An unusual aubusson-style tapestry wall hanging comprising 8 panels with recurring lion, urn and floral motifs on a pale blue field with a passementeire border and cotton backing. Wh...

Philippe Andrianne Oil Painting on Canvas in a Gilt Frame. Oil painting on canvas with a liner and gilt wooden frame.

Original oil on canvas landscape painting of cows in pasture. Artist: Poul Steffensen (1866-1923). Signed in monogram P.ST. Canvas in good condition...

Early 21st century, a pair of framed giclee prints from the "Mustang Series" by Dominique Samyn (born 1952), Belgium and USA. The work with the horse looking to the right is titled "...

Spanish landscape painting of forest with deer in a gilt frame.

Mid Century Modern Picasso style Abstract of a face by E.Ruff 1945. Amazing composition and color. Nice gilt frame. One small tear can be repaired.

Oil on canvas with covered wagons heading west in an open prairie. Signed lower right. Sight measures 23 1/2" wide and 17 1/2" high. Frame measures 27 1/2" wide and 21 1/2" high. ...

A sixth-generation Floridian, Doug Whittle received a BFA in painting from the University of Florida in 1984. After graduation, he spent two years as a Peace Corps volunteer in centr...

Original oil painting by multi award winning artist, Paul Gaston Ambille. Born in 1930 and died in 2010. He studied at the prestigious Ecole des Beaux Arts de Paris. His works are ve...

Oil on board of a Pastoral Scene with house. Nice impasto style composition. Unsigned and in a solid wooden frame.

Late 19th century Transylvanian Tuduc Romanian Prayer rug with a double scroll niche design on a striking navy field. Measures: 4'1'' x 5'10''.

Abstract Painting by Barbara Beretich (1936-2018). It is entitled Silver Wide and depicts a moder abstract landscape. It is artist signed and was painted in 1985. Additional infor...

1995, Danish wool rug depicting "olive grove" by Vincent Van Gogh (1899). This rug was made by Ege Axminster A/S for their 20th century masters collection. The image of "olive grove" was licensed by Van Gogh International B.V. This rug is wonderfully executed and respects the genius of Van Gogh. The colors of this rug are strong and beautiful; browns, various shades of green, pinks, yellows, blues and lilacs are all utilized to wonderful effect. In addition to the work of Vincent Van Gogh, the Ege Art collection has included rugs depicting the art of such greats as Paul Klee, Pablo Picasso, Robert Jacobsen, Andy Warhol and Rene Magritte. iEde rugs are an iconic piece of art that is made for your floor. They can be used to define a space and create a vignette that is unique and emphasizes your artistic side. Owning this rug would be a fun and lasting way to enjoy one of the most brilliant artists of all time. About Ege Axminster: Weaving together timeless Danish design, long-lasting quality, natural comfort and progressive sustainable thinking, Ege Carpets craft wall-to-wall carpets, rugs, carpet tiles...

A silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar), this multi-lobed textile piece was a detachable collar worn around the shoulders as part of the traditional Chinese garment accessory. With its origin dated back to the Han Dynasty and being used until the end of Qing Dynasty, the form evolves with time, but much of the ornamentation and fundamental symbolism remains the same. This striking example features a two-tiered design with seven lobes on each circle, all of which are variations of the shape of auspicious "ruyi", which represents the head of Lingzhi mushroom, a symbol of longevity. The inner lobes feature elaborate embroidery floral design with long and short satin stitches. Notably, one panel has a double gourd design, the symbol of fortune. The outer lobes show a simpler but bolder vision with the outlines of the designs lineated with metallic threads buddled in chain stitches. Small jade beads were used to link the piece together and most of them still remain. The piece as a whole has a very pleasant lilac purple color, delicate with the jade beads. In Qing Dynasty, the silk collar with high quality was worn by noble or aristocratic women. The red color and the lotus boy symbol indicate that it was most likely part of the fashion accouterment worn during wedding ceremony. The collar is beautifully float mounted within a double conforming mat in a giltwood frame and wood backing. A stunningly presented period piece with story to tell. Reference: For a collection of Chinese embroidered collars...