19th Century Decorative Art

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Greece. Ready to go on a wall. Frame...

A set of three mounted hand painted wallpaper panels in simple wood frames. Beautifully and elaborate painted scenes with birds, flowers,...

Antique Original Charcoal and Chalk Study Depicting a Woman and Her Baby An extremely charming portrait study sensitively and skillfully executed. Framed...

Wonderful set of 12 architectural prints Copper-plate engravings after the original drawings by L.Carter Published by H. Hogg. Undated but the watermarks on the paper showing date...

Colorful French Majolica green and yellow oyster plate with stylized leaves, circa 1890.

Antique print titled 'Die Schachspieler - Les Joueurs Déchecs - The Chess Club - Schaakspeler'. Original antique print of a chess game. Lithograph after Johann Peter Hasenclever...

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

French Majolica birds plate Onnaing, circa 1890.

Unusual French Majolica asparagus plate attributed to Onnaing, circa 1890. Decorated with berries.

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 ...

Antique costume print titled 'Le Progrès'. Old fashion print of various men and women illustrating the fashion trends of August, 1898. Artists and Engravers: Published for 'La Gaz...

A superb pair of antique 19th-Century French provincial faience Quimper wall plates. Both plates are signed "HB Quimper". These charming plates are hand painted with a young Breton c...

19th Century Majolica flowers and butterfly plate Wasmuel.

French Majolica cornflower and wheat plate Sarreguemines, Circa 1890.

This ornate, antique paper hand fan was crafted in France, circa 1850. the one side showing a candlelit interior where Gallant scene on the reverse with a box but no glass of box. Se...

Antique print titled 'XVIIIth Century - XVIIIe Siecle - XVIIItes Jahrhundert'. Chromolithograph of XVIIIth Century ornaments and decorative arts. This print originates from 'l'Orneme...

Antique bird print titled '1. Black-crested or green cardinal. 2. Red-crested cardinal. 3. Cardinal grosbeak or virginian nightinggale.' Old bird print depicting the black-crested or...

Antique print titled 'Nice'. Original antique print with a view of Nice, France. Artists and Engravers: Engraved by G. Morandotti after G. Regazzoni. Condition: Fair/good, gene...

Great image of swans. 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. Published...

19th Century French Blue & White Morning Glory Plate Vieillard Bordeaux. Diameter 8.8 inches.

Great images of trogons and purple headed pigeons Unframed. Lithographs after Cpt. Brown with original hand color. Published, 1847. The measurement is for 1 print Free shipping...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

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

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

Mexican Portrait Miniatures of Officer and Wife Medium: Oil on Board, Circa 1845-50 Two intricately detailed oil-on-board miniatures portray a military officer and his wife. The pai...

Sensational image by Albert Letchford From Captain Sir R.F Burton's " Arabian Nights " Photogravure Published by H.S Nichols, London On good quality wove paper Unframed. The si...

Antique anatomy print showing muscles of the rib cage, shoulder and neck. This print originates from 'Anatomie De L'Homme Ou Descriptions Et figures Lithographiees De Toutes Les Part...

This beautifully preserved collection features four 19th century botanical herbier specimens meticulously mounted in a rustic barn wood frame. Each specimen, carefully labeled with s...

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....

19th century French Majolica Oyster plate unsigned, with a lemon on the center.

Antique print titled 'Mambrino bred by Lord Grosvenor'. Antique print of Mambrino, grey thoroughbred racehorse, foaled in 1768, bred by John Atkinson of Scholes at whose death became the property of Richard Grosvenor...

The suzani fragment on the frame is from a 19th C. Suzani. It is hand backed on linen and streched over a strecher and finished with a wooden frame. Ready to go on any wall. The ite...

Rare oversize colorful Majolica wall applique signed Sarreguemines Majolica, circa 1870. Measures: 44"W 25" H

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

Wonderful charcoal portrait of a girl. By a very good victorian artist, William Wardlaw Laing* Sitter unknown. Signed lower left Presented in an antique bleached tropical hardw...

A silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar), this two-tiered, five-lobed textile piece was a detachable collar worn around the shoulders as part of the traditional Chinese garment...

Wonderful print of St Ignatius of Loyola Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the p...

Antique costume print titled 'Perse - Homme du Peuple'. Original antique print of a Persian man. This print originates from 'Moeurs, usages et costumes de ...

19th century English blue and white "Wild Rose" plate. The plate are decorated with wild roses on the border, the central pattern is a rural landscape, bridge and river.

French Blue Majolica Plate with Yellow Flowers Circa 1890.

Antique print titled 'Femmes de Luc (Calvados)'. Old print depicting women from Luc-sur-Mer, France. This print originates from 'La Normandie Illustrée' b...

Antique print titled 'Tracht der Indianer von Mechoacon' Original antique steel engraving showing the costumes of natives of Michoacan, Mexico...

A very fine French 18th-19th century oil on canvas portrait of a posing lady with flowers, after Jean-Marc Nattier (1685-1766) within an ornate gilt wood carved frame, circa 1800. ...

Rare large Majolica leaves plate Wasmuel, Circa 1890. Measure: 10 inches diameter.

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

Colorful French Majolica green oyster plate with stylized leaves, circa 1890. Very rare color.

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

Great image of an apple Chromo-lithograph. Original colour Published circa 1860 Unframed. It gives you the option of perhaps making a set up using your own choice of frames. ...

A lovely 19th century English school watercolor on paper of "a garden pergola" rendered in beautiful colors of brick, green, tan and grey. Presented in a gilded gesso and wood frame.

19th century hand painted Italian charger featuring three cherubs interacting with another lying on a bed of wheat stalks under a scenic skyscape. Beau...

Large French Majolica Pair of Apples & Pears Platters Orchies Circa 1930. 12.5 inches diameter.

English Majolica Pink Geranium Plate, circa 1880.

A large and beautifully carved Victorian Tudor revival oak wall hanging panel, handcarved with two ornate arches, Vitruvian scrolling and four male and female herm-type figures. Formerly a fireplace overmantel...

Sensational image by Gustave Dore Originally an illustration for JohnMilton's " Paradise Lost " Woodcut engraving Published C.1880 Unframed. Crease to top left corner Free shi...

"Costume de Printemps – Elegant Early 19th-Century French Fashion Engraving" This finely detailed hand-colored engraving, titled Costume de Printemps, captures the refined eleganc...

19th Century Minton Pink Flowers Oyster Plate.

French Majolica bird & flower plate, Circa 1890.

Great image after Guercino Fine steel engraving Published circa 1850 Unframed. Free shipping

Francois Maurice French Palissy Majolica wall platter which features three fish and an eel to the centre. Scattered around the platter are shellfish, a frog, a tortoise, a lizard, a snake, a langoustine, beetles, fern leaves, lily pads and cat tails. Colouration: blue, green, white, are predominant. The piece bears maker's marks for the Francois Maurice pottery.

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. L 19th C. Uzbekistan. Ready to go on a wall. Fram...