European Decorative Art

An antique Italian frieze panel with flowers, vines and leaves, made of hand crafted Oakwood in good condition. The vertical door features two hand crafted round metal door pulls...

Charming 1970 re-release Czech film poster for Disney's classic Snow White and the Seven Dwarfs. This vintage movie poster is sized 11 1/4 ...

Glorious set of 18 prints of Gothic Architecture in Scotland Steel engravings. After R.W. Billings Published by William Blackwood & Sons, Edinburgh. Dated 1848 Unframed.

This large, old master still life painting is a perfectly balanced composition of fruit and game birds. In the foreground a rabbit is stretched out. A copper kettle and a basket are ...

A Fine German Bronze Historicism Charger Depicting Entry Of Henry IV Into Paris March 22, 1594 Second half 19 century. A finely cast "Historicism" charger commemorating "The Entry Of Henry IV Into Paris, 22 March in 1594. The image is loosely based on a painting by Francois Gerard...

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

Victorian Majolica Pineapples Plate Circa 1880.

A beautiful original watercolor painting depicting Notre Dame Cathedral and the Seine in Paris, France. Painted by Henri Le Riche. Hand signed on the bottom left, pencil drawing o...

English ironstone platter circa 1890. Chinoiserie or Imari style, decorated with flowers.

19th Century Majolica oyster plate Wasmuel (Belgium) decorated with flowers.

Portrait Medallion of the Swedish king Karl XIV Johan, Empire, c. 1820s A beautiful portrait medallion in polished and dark-patinated bronze depicting King Karl XIV Johan of Sweden ...

Attributed to Giorgio Lucchesi (1855-1941) A large and impressive early 20th century oil on canvas "Madonna and Child" after Bartolomé Esteban Murillo...

N.4 ceramic wall tiles, 1930, square form, each framed, each signed Richard Ginori S.Cristoforo Milano Giò Ponti.

Norman C Black Surrealist Painting Clean Surface Norman Black was an English Painter born in 1920 and died in 1999

The editor of the publishing journal L'Art Photographique George Carre had stressed his intentions, but inability to have photographic covers for the journal. The talented Artist Alphonso Mucha...

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

Beautiful tile mural with the "DEER" motif finely painted. Quantity: 24 tiles Tile mural size: 23.6"H X 35.4"W (60cm X 90cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portug...

Great set of bird prints Lithographs after the drawings by Cpt. brown. Original hand color. Unframed The measurement given below is for one print.

Great map of The Environs of Cork Published circa 1880 Unframed Free shipping.

French majolica plate with bird & white flowers Onnaing, circa 1890.

Lovely pair of prints Lithographs Original color Published, circa 1870 Unframed. Free shipping

Majolica sealife platter Vallauris, circa 1950. High relief of 2 fishs, seaweeds, lemon, starfish, shells, crab, oyster. Nautical style. Measure: 9.3 diameter.  

Great image of partridge. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. ...

Unusual 19th century English Majolica Geranium plate.

French Majolica asparagus plate Orchies, circa 1890.

"Tafla C4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel Measures: 100x50x6cm Zieta is best known for hi...

The Classic Cappiello poster in an outstanding custom frame. Signed in the plate 922 lower left. A festive female figure supports a glass of overflowing bubbly Contratto on a black b...

This handmade decorative tile panel combines the traditional Portuguese faience tile making techniques with a modern approach of shapes and color, resulting in a very visually impact...

Original 1957 Air France Paris travel poster designed by Jacques Nathan-Garamond. Superb poster which sumptuous colours and in fantastic condition. Jacques Nathan-Garamond (1910-200...

A 19th century Italian reliquary with silver thread double-headed eagle and foliage and floral motif on a red silk background.  Inscriptions with sev...

A French Directoire period framed painted panel from the late 18th century, with floral motifs. Born in France during the later years of the 18th century, this exquisite decorative p...

Superb traditional oil painting by living Artist Daniel Van der Putten, depicting an Irish rural snow scene near Kinvara in County Galway, a view of a Sixteenth Century Irish Castle ...

From our hand painted Furniture Collection, we are pleased to introduce you to our Bellini Panel. An exquisite decorative wooden panel inspired by the famous Venetian cocktail invent...

Antique Honor Target with Fox and Ducks, Germany 1930s An antique honor shooting target. The wooden plaque is decorated with a colorful print showing a fox hunting ducks. It bears t...

Herend Hungary Porcelain "Chinese Bouquet Apponyi Green" Wall Decoration Plates Herend Hungary porcelain plates for as decoration to hang on the wall, with openwork edges Beautiful...

Majolica sealife platter Vallauris, circa 1950. High relief of 2 fishs, seaweeds, garlic. Nautical style. 8.5 inches diameter  

Wonderful image of The Temple of Baalbek Fine steel engraving after W.H Bartlett Published by Fisher. Dated 1838 Unframed. Free shipping

Rare 19th century Majolica oyster plate with pastels colors, shells and seaweeds signed Gien.  

Gorgeous handpainted tiles with 3 different images of a pink flamingo (Phoenicopterus roseus Pallas). The tiles are hand painted and handmade in Italy...

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...

Danish modernist decorative plate / wall decoration / centerpiece with strong graphic decor from the Tribal Harlekin series by ceramic artist Marianne Starck (1931-2007). Shiny bone white glaze with hand-carved sgraffito graphic lines and patterns in raw anthracite colored clay...

French Mid-Century Blue Daisy Plate signed Maunier Vallauris. 8 inches diameter.

Hans Zatzka (Austrian, 1859-1945) a superb quality oil on canvas titled "Spring Love" depicting a standing young maiden holding a wicker basket filled with fresh flower as she is bei...

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

Wonderful piece of green glass with an amazing bubbly interior. Most likely originally a doorstop or a paper weight Good condition. Free UK shipping

Wooden Micro Carving Plaque by Johann Rint ca. 1880 A small wall plaque with detailed relief carvings worked out of linden wood by Johann Rint ca. 1880....

Jean Cocteau ceramic dish - La Joconde- 1958 Edition originale Atelier Madeline & Jolly with certificat d'origine dated et signed . White earthenware with black / red / blue enamel...

Outstanding large mid century ceramic plate in bright colors combined with a shimmering copper glaze and black fat lava glaze. Manufactured by Grünstadt Keramik, 1960s to 1970s. Incl...

Resin Relief "La Danse" by Maurice Picot Bring the timeless elegance and artistic flair of the renowned French revue theater Folies Bergère into your home with this exquisite reprod...

John Haanstra (Dutch, b. 1940), signed and dated 1985 on lower right. A charming oil painting, showing a winter landscape. Skaters are enjoying seasonal fun on a frozen canal while others go about their daily activities. A typical Dutch windmill can be seen in the background. Typical Dutch style housing can be seen in the foreground. The sky seems to be laden with more snow, creating the sense of more winter fun...

French Majolica asparagus plate Fives Lille, circa 1890. Decorated with an artichoke and a mask with leaves.

French Majolica cherries plate, circa 1890.

Ferdinand Wagner II (German, 1847-1927) A very fine and charming triptych group of three oil on canvas laid on board titled "An Allegory to Spring" each panel depicting different playful and joyous scenes of putti and a cherubs reminiscent of spring, love and peace. The center panel depicting a seated putto, crowned with flowers, a standing putto behind him holding a sack of arrows and a seated cherub facing him next to a watchful peace dove on top resting of a flower bouquet. The left panel depicting a seated putto next to a standing putto with a freshly harvested apple. The right side panel depicting a standing cherub holding a fig branches with leaves. All three-in-one panels within individually carved giltwood frames. All panels signed at the lower left: Ferd. Wagner, circa 1890. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr...

Rare 19th Century Majolica Oyster Fish Heads Plate Wedgwood.

Great image of hummingbirds Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Pub...

Incredible Mid-Century abstract brutalist door panel. Jagged edges and decorative carvings highlight its raw and dynamic geometric presence. An a...

Wonderful carved wood frame in renaissance style I particularly like the Greek key ornament Carved tropical hardwood Chipped to one of the corners The measurement given below is ...

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

Print from the Collection Botanique Vegetables representing a big Lemon Citrus enriched with green and yellow colors and nuances of watercolor. This print is paired with Lemon Citrus...

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...