Fabric Decorative Art

Striking and beautiful New England quilt with oakleaf pattern. Investor investive condition with a highly modernist design pattern. Found in Maine, this quilt made from pumpkin orang...

A Tibetan, traditional hand-woven textile in silks. Framed behind glass, against a raw linen background.

A period Parisian silver bas-relief wall plaque, set in the highest quality velvet surround. Possibly a water based sporting honour dated, ‘1900’. Very fine workmanship visible thr...

A pair of Persian, traditional hand-woven textiles. Framed behind glass, against a raw linen background.

Exquisite Rare late 19th C Antique French Neyret Freres Woven Monochrome Silk Pictures, “Printemps” (Spring) and “The Storm or Daphnis et Chloe” after Pa...

Silk lithograph by Gaspar Camps (i Junyent) (Spain 1874-1942) - This piece is called 'Evening Hydrangea' (1904)

English orientalist school; late 19th - early 20th century. "Slave market". Oil on canvas. Presents stamps on the back. Measurements: 26,5 x 36 cm; 27 x 37 cm (frame). The orien...

A vibrantly colored Tibetan Thangka of a multi armed Deity, Tibet Circa 1900, framed in a gold tone frame under glass, Measures: 28 inches tall, 30.75 inches wide.

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 gilt wood 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...

Antique Persian Sarouk Oriental Rug with Floral Design, circa 1920 in Small Size An antique Persian Sarouk oriental rug, size 4'0" x 2'1", circa 1920. This lovely hand-knotted wool ...

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...

JOSÉ FELIPE ABÁRZUZA RODRÍGUEZ DE ARIAS (Cádiz, 1871-Puerto Real, 1948). "Moors at Dusk". Oil on canvas. On the lower part there is a plaque with the artist's name and title. Frame f...

Antique Ferahan Sarouk Oriental rug, circa 1900, room size. An antique Ferahan Sarouk oriental rug, size 9'9" x 7'0", circa 1900. This lovely...

Antique Persian Heriz Oriental rug, Room size An antique Persian Heriz oriental rug, size 12'1" x 10'6", circa 1900. This handsome hand-woven geo...

Antique Turkestan Turkman Rug, Small size, circa 1900 A one-of-a-kind antique Turkestan Turkman Oriental Carpet, hand-knotted with soft wool pile. This geometric carpet features a r...

Antique Ferahan Sarouk oriental rug, circa 1900, room size. An antique Ferahan Sarouk oriental rug, size 10'4" x 6'7", circa 1900. This lovel...

Antique Persian Kerman oriental carpet, size 8'9" H x 5'9" W, circa 1900. This antique hand-knotted Persian rug features a striking red central field, with a central medallion su...

Antique Indian Agra Oriental Rug, size 6'6" H x 4'0" An antique Indian Agra Oriental Rug, size 6'6" H x 4'0" W, in Small size, circa 1900. This fine floral wool rug features a Pais...

Antique Persian Bidjar Rug, Room size, circa 1900 A one-of-a-kind antique Persian Bidjar Oriental Carpet, hand-knotted with soft wool pile. This beautiful rug features a central med...

Antique Persian Sultanabad rug, room size, circa 1900 A one-of-a-kind antique Persian Sultanabad oriental carpet with a thick and lustrous wool pile, knotted by hand, with soft to...

Antique Persian Bidjar Rug, Small size, circa 1900. A one-of-a-kind antique Persian Bidjar Oriental Carpet, hand-knotted with soft wool pile. This beautiful rug features a repeati...

Antique Northwest Persian carpet, Gallery size, size 8'5" x 4'2" An antique Northwest Persian decorative oriental carpet, in gallery size, size 8'5" x 4'2". This hand-knotted ant...

Antique Ferahan Sarouk oriental rug, circa 1900, room size. An antique Ferahan Sarouk oriental rug, size 12' 5" x 9' 0", circa 1900. This lovely hand-knotted wool rug features an in...

Antique Northwest Persian carpet, Room size, size 11'6" x 9'0" An antique Northwest Persian decorative oriental carpet, in room size, size 11'6"" x 9'0"". This hand-knotted antiqu...

Antique Northwest Persian Carpet, Small size, size 6'9" x 5'1" An antique Northwest Persian decorative oriental carpet, in small size, size 6'9" x 5'1". This hand-knotted anti...

Antique Ferahan Sarouk Oriental Rug, circa 1900, Small size An antique Ferahan Sarouk oriental rug, size 6'5" x 4'4", circa 1900. This lovely hand-knotted wool rug features a centra...

Antique Northwest Persian carpet, Room size, size 11'6" x 8'8" An antique Northwest Persian decorative oriental carpet, in room size, size 11'6" x 8'8". This hand-knotted antique...

Antique Persian Bidjar Rug, Runner size, circa 1900. A one-of-a-kind antique Persian Bidjar Oriental Carpet, hand-knotted with soft wool pile. This beautiful rug features floral e...

Antique Ferahan Sarouk Oriental rug, circa 1900, small size. An antique Ferahan Sarouk oriental rug, size 4'9" x 3'6", circa 1900. This lovely hand-knotted wool rug features a her...

Antique Ferahan Sarouk Oriental rug, circa 1900, Room size An antique Ferahan Sarouk oriental rug, size 12'3" x 8'7", circa 1900. This lovely hand-knotted wool rug features a cent...

Antique Persian Seneh Oriental Rug, in Small size An antique Persian Seneh oriental rug, size 6'0" x 4'6", circa 1900. This handsome collectible carpet features a central medallion ...

Antique Ferahan Sarouk oriental rug, circa 1900, small size An antique Ferahan Sarouk oriental rug, size 4'9" x 3'3", circa 1900. This lovely...

Antique Indian Agra oriental rug, size 11'7" H x 9'1". An antique Indian Agra oriental rug, size 11'7" H x 9'1" W, in room size, circa 1900. This fine floral wool rug features a c...

Antique Indian Agra rug 5'0" H x 2'1" W, in small rug size, circa 1900. This fine floral wool rug features a repeating small-scale floral design throughout, iterated both in the prim...

Eugenio Zampighi (Italian, 1859-1944) A fine and charming Italian 19th/20th century oil on canvas Titled "A Joyous Family" depicting an interior scene of a seated joyous mother with her smiling toddler child on her lap, as her young daughter amuses them while holding a small kitten picked-up from the cat...

An antique Indian Agra rug 4'0" H x 2'0" W, in small rug (kaleghi), circa 1900. This fine floral wool rug features a repeating small-scale floral design throughout, iterated both in ...

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...

An antique Chinese Peking oriental rug, size 3'0 x 2'2, circa 1900. This lovely hand-knotted oriental carpet features an uncluttered central field characterized by decentralized flow...

Antique Portuguese needlepoint flat-weave rug handwoven with a symmetrical floral design, ivory center, and bold splashes of color in the border. Can be used as a wall hanging or a f...

An antique Persian Seneh Oriental rug, circa 1900, size 3'3 x 3'0. This handsome collectible carpet features a stylized repeating design covering the soft earth tone field, with spar...

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

This captivating 19th-century still life oil painting by the award-winning French artist Charles Henri Franzini d'Issoncourt is a testament to his artistic talent. Recognized at the ...

Karl Viktor Mayr (Austrian, 1882-1974) a very fine Austrian oil on canvas "An Exotic Nude Girl" depicting a young semi-nude woman, revealing her breast...

A antique Persian N.W Persia rug, 4' 7" H x 2' 9" W, circa 1900. The short wool pile is even throughout, with even wear, and the rug is in fairly good condition for its age and weavi...

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

Late 19th or early 20th century garden portrait of a lady painted in the period of Art Nouveau. Stylized palms serve as an elegant backdrop for a seated heiress painted in soft paste...

An antique Persian Tabriz oriental carpet, circa 1900, hand knotted with wool in the Tabriz region of Persia. The central field is characterized by a series of expanding medallions, ...

An antique Chinese Peking oriental rug, size 4'0 x 2'2, circa 1900. This lovely hand-knotted oriental carpet features an uncluttered central field characterized by decentralized flow...

An antique Persian Serapi oriental rug, size 6'2 x 5'0, circa 1900. This handsome hand-knotted wool rug features a rare ivory field at center, wit...

Antique European Needlepoint Tapestry Panels with Courtiers Reveling, circa 1900 An interconnected set of three European Needlepoint Tapestry Panels, antique, circa 1900, size 4'5"H...

An antique Persian Ferahan Sarouk oriental carpet, size 6'7 x 4'5, circa 1900. This delightful hand-knotted antique wool rug features a repeating series of ivory circles in the finel...

An antique Persian Lavar rug, size 6'5 H x 4'4 W, circa 1900. This fine hand-knotted oriental rug features a beautiful central medallion, encompassed by floral reserves in each corne...

This black and white etching by Almery -Lobel Riche is in a custom gold leaf frame with deep cut beveled silk mat. The etching is of woman leaning over cha...