Carved Decorative Art
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Period: Early 1900s
Technique: Carved
Bat Plaque
Located in Chicago, US
A celebrated Parisian cabinetmaker and wood sculptor, Viardot enjoyed both critical and commercial success. Among his distinctions are a silver medal awarded at Paris’ Exposition Uni...
Category
Early 1900s French Art Nouveau Antique Carved Decorative Art
Materials
Fruitwood
Art Nouveau Fruitwood Bat Plaque by Gabriel Viardot
Located in Chicago, US
A celebrated Parisian cabinetmaker and wood sculptor, Viardot enjoyed both critical and commercial success. Among his distinctions are a silver medal awarded at Paris’ Exposition Uni...
Category
Early 1900s French Art Nouveau Antique Carved Decorative Art
Materials
Fruitwood
Paul Bonnaud (1876 - 1953) Symbolist Art Nouveau Enamel "Landscape" , c.1900
By Paul Bonnaud
Located in Saint-Ouen, FR
Paul Bonnaud (1876–1953), Limoges
“Trees by a Lake”
Symbolist Art Nouveau Landscape
A circular polychromic enamel plaque.
In a carved varnished wood frame
Signed and located Limoges
Circa 1900
Paul Bonnaud was a master enameler in Limoges at the beginning of the 20th century, he belongs, with Jules...
Category
Early 1900s French Art Nouveau Antique Carved Decorative Art
Materials
Enamel
Pair Antique Woven Silk Neyret Freret - After P A Cot
Located in New Orleans, LA
Exquisite Rare late 19th C Antique French Neyret Freres Woven Monochrome Silk Pictures, “Printemps” (Spring) and “The Storm or Daphnis et Chloe” after Pa...
Category
Early 1900s French Belle Époque Antique Carved Decorative Art
Materials
Gesso, Silk, Glass
Pair of Well-Carved French Boiserie Swag Appliques
Located in San Francisco, CA
Each hand-carved swag with plump fruit and vegetables nestled among flower heads and foliage.
Category
Early 1900s French Rococo Antique Carved Decorative Art
Materials
Wood
After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
Located in Los Angeles, CA
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...
Category
Early 1900s Italian Baroque Antique Carved Decorative Art
Materials
Canvas, Giltwood
After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
Located in Los Angeles, CA
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...
Category
Early 1900s Italian Baroque Antique Carved Decorative Art
Materials
Canvas, Giltwood
Eugène Galien-Laloue "Theatre du Chatelet" Watercolor and Gouache
Located in Los Angeles, CA
Eugène Galien-Laloue (1854-1941) "Theatre du Chatelet" watercolor and gouache on paper signed 'E Galien Laloue' lower left, within a giltwood and gesso c...
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Early 1900s French Belle Époque Antique Carved Decorative Art
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Eugenio Zampighi 'Italian, 1859-1944' 19th/20th C. Oil on Canvas "Joyous Family"
Located in Los Angeles, CA
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...
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Early 1900s Italian Country Antique Carved Decorative Art
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Gesso, Canvas, Giltwood
Circa 1900 Wood Cutout of "The Lord's Prayer"
Located in Coeur d'Alene, ID
Wood cutout of the Lord's Prayer with frame. 23" x 32". Beautiful! A tad faded with age, but adds character to the already unique and never forgotten Lord'...
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Early 1900s American Antique Carved Decorative Art
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Wood
Early 20th Century Hand Carved Wall Plaques
Located in High Point, NC
Early 20th century set of three hand carved wall plaques which have been meticulously carved in the designs of European village landscapes. The...
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Early 1900s Swiss Black Forest Antique Carved Decorative Art
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Fruitwood
Italian 19th Century Porcelain Plaque of Madonna della Primavera, after Barabino
By Nicolò Barabino
Located in Los Angeles, CA
A very fine Italian 19th century porcelain plaque of Madonna della Primavera ("Madonna detter Primavera with Bambino"), after Nicolò Barabino (1831-1891). The finely painted standing Madonna holding baby Jesus in her arms surrounded by flowers, framed in a Gothic revival style giltwood carved frame. The back inscribed: "Madonna detter Primavera - nach Barabino" and handwritten "E. Guenther, Phila". Signed lower left corner, circa 1890-1900.
Nicolò Barabino (1831–1891) was an Italian academic painter of religious and historical subjects, active in Florence and Genoa.
He was born in Sampierdarena. His initial studies were at the Genovese Accademia Ligustica di Belle Arti, under Giuseppe Isola. In Genoa, he befriended Maurizio Dufour. In 1857, he won the Durazzo scholarship to attend the Accademia di Belle Arti in Florence. He designed some of the lunettes completed as mosaics for the portals of the Florence Cathedral...
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Early 1900s Italian Gothic Revival Antique Carved Decorative Art
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Porcelain, Giltwood
Ornately Giltwood Framed Floral Painting by Charles Franzini D’issoncourt
Located in Miami, FL
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. ...
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Early 1900s French Baroque Antique Carved Decorative Art
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Canvas, Paint, Giltwood
French Still Life Floral Painting by Charles Franzini d’Issoncourt
Located in Miami, FL
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 ...
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Early 1900s French Baroque Antique Carved Decorative Art
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Canvas, Paint, Giltwood
Karl Viktor Mayr, Austrian Oil on Canvas "An Exotic Nude Girl"
By Karl Viktor Mayr
Located in Los Angeles, CA
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...
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August Stephan Sedlacek (Austrian, 1868-1936) Oil on Canvas Violin Presentation
By Stephan Auguste Sedlacek
Located in Los Angeles, CA
Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...
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Early 1900s French Louis XV Antique Carved Decorative Art
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Gesso, Canvas, Wood
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Measures: 17.75” W x 17.5”H x 1.75”D, image 11” W x 11” H.
Category
Early 1900s Italian Romantic Antique Carved Decorative Art
Materials
Other
H 17.5 in W 17.75 in D 1.75 in
Carved and Painted Floral Wall Hanging, circa 1900
Located in Los Angeles, CA
Carved wood and painted floral wall hanging depicting a beautiful carved urn adorned with flowers throughout.
Category
Early 1900s Spanish Rococo Antique Carved Decorative Art
Materials
Wood
Frank Enders, Oil on Canvas Cupid and Psyche after Bouguereau
By William-Adolphe Bouguereau, Frank Enders
Located in Los Angeles, CA
Frank Enders (American, 1860-1921) "Cupid & Psyche" oil on canvas after William-Adolphe Bouguereau (French, 1825-1905) depicting Cupid capturing his mortal love, Psyche, within a giltwood carved frame. Signed: Frank Enders (l/l). The reverse reads: "Frank Enders, After W.A. Bouguereau, Paris, Cupid and Pyske". A frame label reads: "J.O. Krimbholz - Fine Arts - Milwaukee".
In the 19th century, Cupid and Psyche was a source for "transformations," visual interludes involving tableaux vivants, transparencies and stage machinery that were presented between the scenes of a pantomime but extraneous to the plot. During the 1890s, when tableaux vivants or "living pictures" were in vogue as a part of vaudeville, the 1889 Psyché et l'Amour of Bouguereau was among the artworks staged. To create these tableaux, costumed performers "froze" in poses before a background copied meticulously from the original and enlarged within a giant picture frame. Nudity was feigned by flesh-colored bodystockings that negotiated standards of realism, good taste, and morality. Claims of educational and artistic value allowed female nudes—a popular attraction—to evade censorship. Psyché et l'Amour was reproduced by the scenic painter Edouard von Kilanyi, who made a tour of Europe and the United States beginning in 1892, and by George Gordon in an Australian production that began its run in December 1894. The illusion of flight was so difficult to sustain that this tableau was necessarily brief. The performer billed as "The Modern Milo" during this period specialized in recreating female sculptures, a Psyche in addition to her namesake Venus de Milo.
Frederick Ashton choreographed a ballet Cupid and Psyche with music by Lord Berners and decor by Sir Francis Rose...
Category
Early 1900s American Romantic Antique Carved Decorative Art
Materials
Canvas, Giltwood
Pair of Dutch Soapstone Figural Reliefs in Original Walnut Frames, Circa 1900
Located in Hollywood, SC
Pair of Dutch hand-carved soapstone figural reliefs in the original acanthus carved walnut frames. Signed C.F. Becker, Early 20th century.
Category
Early 1900s Dutch Victorian Antique Carved Decorative Art
Materials
Soapstone
H 8.25 in W 10 in D 1.5 in
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At Colonial Williamsburg, Everything Old Is New Again
With the help of a new director, the Virginia institution's folk art and decorative arts museums are undergoing extensive upgrades.
New York’s Hirschl & Adler Showcases the American Workmanship and Design Panache of Neoclassical Treasures
The gallery's latest exhibition proves that museum-quality pieces entice and inspire, whether in traditional or more modern interiors.
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