European Decorative Art

This is an artwall handmade by our skilled craftmanship, manufactured using a special technique of engraving on a selenite background. The artist plays with light and dark graffiti ...

Modern wall Tapestry Designed by Guido Maggiori (b. 1944) Bold, Colorful Abstract Composition Entitled "Rouge, Vert, Jaune, Noir & Bleu". (Red, Green, Y...

French faience plates made in the 20th mid-century. The elements are very realistics. Very high quality of production. Good condition. Shipping: 23.5/23.5/4 cm.

Dutch Delft Tile Large Picture of A Fleet of Ships, 19th Century The 20 tile blue & white Dutch Delft Tin-glazed Earthenware Tile picture depicts a ...

Wonderful ethnographical print. Copper-plate engraving Published circa 1810 Unframed.  

Gaetano Pesce's works are generally eccentric, modern and carry a concept of "happening", which is the transformation of the object. Experimenter of different forms and materials, h...

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...

A white-green, vintage French still life oil on canvas painting by Michel De Saint-Alban in a hand crafted, original gilded wood frame, i...

An exquisite small abstract enamel on copper painting. Remounted and framed on linen backed board. Fabulous colours. A highly decorative period work of art.

OKO 95 by Zieta Original mirror by Zieta, delivered with certificate. Collection: AURUM 95 cm Polished stainless steel Finish: Rose gold -- Zieta Studio is a brand esta...

Majolica plate with orange starfish with six wells blue and white surrounded by green seaweeds Digoin (East of France), circa 1900.

Miniature signed and framed watercolour portrait of a woman.

Fantastic large scale 19th century Grand Tour image of the Roman Colosseum in the original oak frame, with the original glass! At over 5.5 feet wide this is an impressive piece. Quite rare to find one this large still intact. The image was so large it had to be created from three equal sections which meld beautifully into one oversized picture of this timeless landmark, symbol of ancient Rome. It brings the viewer right there, in all it's faded glory...

An impressive and extremely decorative French early 19th century 1st Empire period giltwood and polychrome eagle wall decor. The unique wall decor depicts and a striking wonderfully ...

This UK quad film poster for Dracula: Prince of Darkness is one of the holy grails for Hammer Horror collectors. Chantrell presents suitably gory imagery...

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...

Great aquarium, fish tank in Murano Glass, by Cenedese and attributed to Riccardo Licata, well known Murano artist. This is an early piece with a big fish, t...

Small German Majolica apple plate, circa 1900. Measure: 7.3" diameter.

Vintage Italian Wall Painting of an Artists Studio, Signed and dated, J. Annus Rome 1960. The painting depicts an artists studio with an easel in the evening set in Rome. Painting i...

1980s Italian Glazed Ceramic Virgin Relief Signed on the Back.

Wonderful Gothic architectural print. Pierced ornaments from Lisieux, Bayeux, Verona and Padua. Steel engraving by R.P. Cuff after the original drawing by John Ruskin. Publi...

"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...

19th century enamel portrait plaque of King Francois II of France (son of King Henry II) who served from 1559-1560. King Francois was married to Mary, Qu...

Wonderful image after Daniele Crespi Fine Steel engraving. Published by Fisher, London, circa 1840 Unframed.

1950s Spanish decorative tile framed in wood in different colours.

A mirror created by Mithé Espelt, circa 1960, in France. The mirror is composed of tiled fused glass within a gold crackle glazed ceramic frame. Very fine original condition. A si...

This pair of large gouaches are very decorative. One of these represents a reclining naked woman and a tiger and the other one represents a tiger and wil...

Would be very pretty oil in old frame, sweet for a girl's room. Nicely done, very pretty flowers. Charming in the shabby chic manner. Measurement below is for the larger painting. T...

Great image by Thomas Rowlandson from the "Tour of Dr Syntax" Etching and aquatint after a drawing by Rowlandson. Published by Ackermann, dated 1820 Unframed.

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...

Large decorative mirror, limited edition of 10. A declaration of love to Paris, a city full of beauty, charm and surprise. The river Seine as a constant flow of time passing by, en...

Original oil on board still life painting, bouquet of flowers with vibrant colors, small fruit and dragonfly. Signed lower right, unknown artist. Sold in original vintage condition, minor crack in lower left corner, cracquleur, etc. Please refer to professional photos for clear understanding of color, condition and details; photo lighting, individual monitor display and home lighting may all impact how item is viewed With over 37 years of experience selling European antiques, our brick-and-mortar storefront, Round Top Ranch...

An exceptionally fine quality example of a framed still life of fruits oil painting on Artists board by well documented English Artist Oliver Clare, first quarter of the 20th century...

- Czechoslovakia, 1960s - Perfect original condition, never used - Suitable for room divider or other decoration - Marked by manufactures - Price for all. jr

Wonderful images of fossils and dinosaur bones. After Cpt. Brown Lithographs. Original hand color. Published 1847 Unframed. Free shipping.

A pair of very fine, large Italian Pietra Dura marquetry panels Italian, 19th century Measures: Panels: height 64cm, width 53cm, depth 2cm Frames: height 88cm, width 77cm, depth 6cm Comprising black marble panels of oval form, set with semi precious stones, these exceptional panels are inlaid to depict a bouquet of flowers in antique vases...

Elegant hand-watercoloured print representing Corallium Rubrum in red nuance, Image reproduced from the famous illustrations by Albertus Seba' Cabinet of Natural Curiosities. These p...

"OKO 95" contemporary mirror by Zieta Emerald Gradient collection New model created in 2020 Stainless steel Measures: 95 x 6 cm. Three colors available: - Emerald green - Sapphire blue - Gradient emerald/sapphire Zieta is best known for his collection of stools “Plopp” made through the technologist Fidu. With the same principle Zieta Prozessdesign conceived mirror collections made of stainless steel called “Tafla”, “Rondo” and “Rondel”. Two laser-cut metal sheets are first welded together before air is injected between them until they separate from each other forming a three-dimensional object. OKO from the Gradient Collection is an attractive mirror in colour. The lacquered steel – thanks to the FiDU forming method and the unique way of covering it with colour – gains an aspect of a precious gem. Additionally, just like the OKO Mirror Inox...

Religious artwork of virgin 'Nuestra Señora de Fátima' by unknown artist, circa 1960. Framed. In original condition, with minor wear consistent...

Great image of Leopard-Seals Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Chromolithograph after the original artwork by P.J Smit...

Lovely Majolica plate with bird and insect, leaves signed Saint Amand, circa 1890.

A gold, large antique French Louis XVI period barometer, signed by Torricelli in gilded wood and of oval shape with original scientific illustrations, in good condition. The detailed wall décor piece is consisting its original glass. Framed with gilt foliate trim and important pediment. Minor fading, due to age. Wear consistent with age and use, circa 1750, France. The Italian scientist Evangelista Torricelli...

Jeppe Hagedorn-Olsen (1902–1996), relief in stoneware with abstract motifs. 1970s. In perfect condition. Marked. Dimensions: W 36.0 x H 42.5 cm.

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...

Set of 6 Wall shelves Model " Butterfly " made by the Danish designer Poul Cadovius in Denmark 1955. They can be hung in different ways and can also be used for decorative purposes o...

Decorative ceramic plate with characters and cart Giovanni De simone 1960s

A beautiful antique pub scene themed wall decoration plate or sign. This decorative item would make a beautiful ornament on each wall. Made in the 1890s it i...

This is a cat postcard by Louis Wain called "The attack on the Stage Coach", originally posted in Edwardian England, circa 1903. The card is in a new frame. This card is an original Edwardian, Cat Themed Postcard by artist Louis Wain published in their Valentines Series, No. 597. The frame is new and allows the back of the card to be seen and a rear insert is included to allow the card frame to be wall hung. ---------------------------------------------------------------------------------------------------------------- About Louis Wain, (1860-1939) Louis Wain was one of the most popular commercial illustrators in the history of England...

Very rare and large ceramic bowl or wall decor from the famous Danish ceramic workshop Michael Andersen & Søn (MA&S) on the island of Bornholm. Made circa 1950s or 1960s. The Hand Painted decor resembles the style of Marianne Starck but is most likely not by her as the piece doesn't show her signature. We suppose it's by Gerd Hiort Petersen...

Great image by Thomas Rowlandson from the "Tour of Dr Syntax" Etching and aquatint after a drawing by Rowlandson. Published by Ackermann, dated 1820 Unframed.

Great image by Thomas Rowlandson from the "Tour of Dr Syntax" Etching and aquatint after a drawing by Rowlandson. Published by Ackermann, 1820 Unframed.    

Great image of a Chinese actor in the San Francisco Theatre Woodcut engraving Text on verso Published circa 1890 Free shipping.

- Around 1960s. - Percect original condition.

19th century hand carved armorial. The plaque is shaped as a shield and carved upon it are a knight's head with plumes of feathers in his armor, over ...

Wonderful image of Montreal Fine steel engraving Published by Thomas Kelly, London circa 1840 Unframed.

Wonderful print of a Yeoman of The Guard Copper-plate engraving after N.C Goodnight Published circa 1800 Unframed.

Photorealism digital print artwork from salvaged wallpaper by La Maison Pierre Frey called "Ouefs A La Coque", which translates to "Boiled Eggs". The wallpaper print was derived from an original still life painting which beautifully captures every element of the subject matter so realistically, it gives the illusion of being a photograph. The subject matter is focused on the magnificent open cupboard of a French country farmhouse kitchen, featuring an array of cups and saucers, stacked plates, serving dishes, and baking molds, adorned with occasional fresh meringue and a few hard boiled eggs. Framed in a custom hand-painted wood frame with an antique whitewash...

- circa 1960s - percect original condition jr