Fabric Wall Decorations

Superb macramé wall tapestry made in Spain in the 1970s. Large format. Handmade tapestry composed of different textures and materials creating unique patterns and reliefs. All the ro...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Morocco. Ready to go on a wall. Fra...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Morocco. Ready to go on a wall. Fra...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Morocco. Ready to go on a wall. Fra...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Morocco. Ready to go on a wall. Fra...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. Morocco. Ready to go on a wall. Fra...

Mid-18th Century Antique French Aubusson Verdure Tapestry, Venus and Adonis Wall Hanging 13'09 x 09'05. A rare jewel from the heart of 18th-century France, this handwoven wool and silk Aubusson verdure tapestry offers more than aesthetic beauty—it is a portal to a bygone era of aristocratic grandeur and mythological reverence. Woven by master artisans whose skill and devotion were reserved for the noble elite, this extraordinary tapestry captures the romantic tragedy of Venus and Adonis in a style that pays homage to the great Italian Baroque painters—Francesco Albani...

This original Lions tapestry or carpet was designed by Maria Janowska for the Wielkopolska Spółdzielnia Pracy Przemysłu Artystycznego in Poznań during th...

Antique Persian beige silk Tabriz rug. Size: 4'2 x 5'7. This is a Classic silk Tabriz from the most desirable period of Tabriz weaving. The complex layered medallion is framed by ext...

This late 18th century stunning Rococo portrait portrays an aristocratic lady with grey hair, decorated with flowers and a blue ribbon, reflecting the era’s love for elegant fashion....

Monumental early 18th-century Italian fresco depicting Dominican Friars by Francesco Malcotto, who made this painting for Milan, for the Renaissance basilica Santa Maria delle Grazie...

A stunning circa 1805 English equestrian oil on canvas painting firmly attributed to prominent late-Georgian period artist Benjamin Marshall portrayi...

Very pretty mid century french Aubusson tapestry with beautiful design from the painter Georges Deveche ( 1903-1974), showing a scene of a museum medieval tapestry with beautiful col...

Antique embroidered mirrored horse blanket throw used in India for the wedding ceremonies. Large antique embroidered panel with floral patter...

Burmese Kalaga Embroidered Tapestry Circa 1930’s A celestial dancer ‘Apsara’, riding on a white elephant. Elaborately worked tapestry padded and textu...

Antique Japanese Recycled Saki-Ori Farmer’s Vest This late 19th C recycled farmer’s vest from northern Japan was strip woven from repurposed cotton scraps in a technique known as sa...

Step into the world of exquisite craftsmanship with this Handmade Late 19th Century Japanese Woven Tapestry, a rare and remarkable piece that reflects the elegance and artistry of an...

GOTTFRIED SCHULTZ German, 1842-1919 Still-Life with Fruits and Wine on a Marble Surface with a Small Fly Oil on linen Signed upper left "G. Schultz" Item # 402UJE16Z An intricately painted still-life scene centered around a blown glass goblet of white wine centered on a marble table top. Red and white grapes spill across the surface with a sprig of the grape vine together with several large leaves resting on the top while peaches, a pear, two plums and an open apricot are laid out on the table. A single fly looks on at the table of sweet fruits and juices, its tiny body casting...

Celebrate the rich heritage of Asian craftsmanship with this exquisite 100% silk Suzani textile, meticulously hand-embroidered by skilled artisans. A true work of art, this piece emb...

A beautiful pair of tapestry fragments, hand-woven in Brussels during the 1500s. At roughly 99 inches (over 8 feet) long, the fragments were, originally, vertical borders to a large ...

An 18th century French Felletin chinoiserie mythological tapestry, size 11'6"H x 17'9"W. This grand mythological tapestry depicts a mythological forest scene, with various satyrs and other mythological figures reveling in Dionysian fashion in the confines of the woodland setting. Finely detailed, with nimble articulation of figures and form, the piece also incorporates chinoiserie motifs, with stylized trees and bushes that have Oriental styling. The lower right corner of the primary field features both the town mark and weaver's mark, as well as the French symbol of the fleur de lis. The tapestry is enclosed within an elaborate outer border, featuring pendant...

French Tapestry Signed By The Aubusson Factory, Circa 1860 - 278lx200h - No. 1474 This tapestry is a fine example of the 19th century Aubusson verdure. This type of tapestry is char...

A splendid 17th century Flemish painting. Oil on canvas artwork depicting a mythological subject of great charm, Meleager offers the boar's head to Atalanta. The Fates had predicted ...

This tapestry has already been cleaned in our craft workshop Artist: Jean Lurçat (1892-1966) Era: 20th century Style: Design 50s-60s Condition: Perfect condition Material: Wool Width...

Early 20th Century S. Persian Double Saddle-Bag Carpet ( 2'4" x 4'9" - 72 x 145 )

HENRI FRANCOIS PERRET French, b. 1825 Lavandières au bord de la rivière Oil on canvas signed lower left "H. Perret" 17 1/4" H x 26 1/8" W [frame] 12 7/8" H x 21 7/8" W [canvas] ...

Antique 19th century Austrian painting. Oil on canvas artwork depicting a female portrait, a young noblewoman in a pose of good pictorial quality. Pai...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Early 20th C. India Ready to go on a wall. Framed...

A contemporary modern abstract tapestry titled "Environmental Sculptures" by Argentinian artist Calman Shemi. Hand signed and titled on verso with an annotation of 7/9. Circa 1980s. ...

Discover the timeless elegance of our exquisite Midcentury French hand-printed tapestry, a faithful reproduction of the medieval masterpiece "The Lordly Life; Scene Galante, circa 1500" by the French School. Immerse yourself in the artistry of the 16th century, echoing the grandeur of the original tapestry housed in the National Museum of the Middle Ages and Thermes de Cluny, Paris. Elevate your space with this captivating piece of history and indulge in the allure of a bygone era. The piece depicts ten characters, five ladies, two lords and three pages, two of whom have their bodies truncated at the bottom of the tapestry. A few birds take flight, others perch in the trees, under the watchful gaze of a fox. In the center, alongside a young man, a lady in a rich costume carries a parrot on her left hand. This is a true celebration of courtly love. This tapestry is hand printed...

Gorgeous handwoven silk Ikat weaving in rich magenta, gold and purple color, circa late 19th-early 20th century, Uzbekistan, Central Asia, on the ancient...

Tapestry bearing the coat of arms of Castile and León, silver thread

A striking framed collection of Antique Beadwork. Antwerp label on verso. Group of individual antique neoclassical embroidered pieces- swags with fruits, bows, a flaming heart with s...

Beautiful pair of wall handing ,hand woven textile , geometric motifs ,professionally mounted on cotton backing . backing sewn together by hand, framed with front acrylic glass li...

Beautiful oleograph of Mary and Jesus. Original tassels and bar on top and bottom to keep a good weight for hanging. One end of bar is missing. Found in a private chapel in a villa, ...

Edouard Cortes (French 1882-1969) oil on canvas in a fine gilt frame. From a fine Madison CT estate. Turn of the century. Guaranteed as authentic. 13 by 18 1/2" Unframed. Cortès was...

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. F...

Fine quality early 20th century oil on board of a Herd of sheep in a landscape pasture. Signed and dated 1916 by D.H. Winder. Daniel H Winder (1870 - c.1920) was active/lived in Uni...

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...

Jean Antoine Watteau (1684-1721) circle of. 18th century old master painting, France. With great pride we offer an extremely rare masterpiece from the 18th century, France. This painting is unsigned as most of his works. It has no provenance, but carries with it all the earmarks of the great Rococo style school of Watteau. It pictures one of his famous outdoor parties with a group of frolicking young people. In the background is a reference to a swing, a favored subject in his paintings. The composition of the painting, colors, brushstrokes (especially in the fabric) is clearly Watteau’s studio. This large 18th century canvas...

A beautiful oil painting, depicting a pack of hunting dogs in the field, made by the French artist Marie-Didière Calves. The style is somewhat impressionistic. Seen up close, a bit ...

Although it may resemble a trampoline, this is an extremely rare fire safety net designed to catch those leaping from burning buildings. The net was patented in 1887 by Thomas F. Bro...

Nice antique Japanese embroidery with beautiful design with tigers, and with nice natural colours in hues of yellow, green, brown and black , entirely...

Naomi Clark paints abstract, vibrant, amoeba-like shapes in single solid colors on silk noil fabric to create Amoeba Curtains Fabric. Sold by the yard (36" x...

Overscale blossoms in a radiating pattern make a delicate and dreamy statement. The natural sisal ground adds dimension and textural allure. • Sold in 8 yard increments. • M...

Sven Markelius (1889-1970), Pythagoras drapery panel produced in 1952 by Ljungberg's Textile AB, Sweden for Knoll Associates, New York, NY. Overall dime...

Vintage textile wall art depicting a woman sitting nude with back turned. Designed by mid-century textile artist Don Freedman, circa 1970s. Original maker’s mark embellishment and ta...

A self portrait of Maurice Molarsky (1885-1950) painted in 1925 This very large portrait measures 54 inches high, 52 inches wide, with a period Harer black and giltwood frame. Maur...

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. Tajikstan Ready to go on a wall. Fra...

Pierre Adrien Chabal-DUSSURGEY (1819-1902) Designer - BEAUVAIS TAPESTRY MANUFACTORY Maker - Important Antique Louis XVI style floral tapestry settee back fragment - the floral tapestry finely woven in wool and silk threads with garlands and swags and tassels - all centered by a powder blue ground cartouche with white roses within an oval frame - suitable for framing - France - circa 1855. Excellent antique condition - minor fading and loss - areas of wear/thinning - no apparent restoration - minor stains and soiling with signs of age and use. Size/dimensions - 35" (91.5 cm.) wide x 24" (61 cm.) high. Pierre Adrien Chabal-DUSSURGEY - born Pierre Adrien Chabal in 1819 in Charlieu and adopting the professional name of CHABAL-DUSSURGEY - well known for his paintings and studies of flowers in gouache and oils - attended the School of Fine Arts in Lyon - exhibited at the Paris and Lyon salons - he worked with the Gobelins Tapestry Manufactory and the Beauvais Tapestry Manufactory after 1849 designing tapestries, rugs and tapestry covers for seating - he designed tapestries for the Élysée Palace and worked with Empress Eugenie on furnishings for the small salon at the Élysée Palace and two salons in the palace of the Empress in Biarritz - tapestry covered furniture...

984 - This Jacquard tapestry "touch" is from the Lady with the Unicorn series. On this hanging, the sense of touch is highlighted. Framed by the lion and the unicorn...

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...

Lovely Baroque Revival Mid Century Yardage from a high end upholsterer who carried a lot of Scalamandre textiles. On its original bolt, it is is marked 32-33 yards on end. Feels like...

This is a large vintage decorative panel. A Continental, needlepoint tapestry, dating to the late 20th century, circa 1980. Wonderfully Italianate scene depicting an idyllic European bridge...

Antique Moroccan Moorish Silk Textile Tapestry Wall Hanging Hiti Ottoman voided silk velvet wall covering. Silk velvet cut designs, light browns, yellow, cream and blue, the panel consist on two arches with Islamic floral designs. Antique textiles from early 1900s. Each arch panel is 62" height X 26"5 wide Antique silk...

Massive oversized Jansport backpacks. One red. One green. Over 2.5 feet tall. 400% larger than a normal backpack. Cool advertising piece. Great objec...

Beautiful vintage French Aubusson style tapestry with a nice design of Typical 18th century verdure, depicting a green country landscape with a pond. Bring a little reminder of natu...

"Les bienfaits de la nature offerts au plus grand nombre" “Nature's Goodness offered to more people” An Impressive and Decorative Art Deco oil on canvas painting Original frame Signe...

Stunning expressionistic oil on canvas by East Village artist Kim Keever, part of the 1980s New York City East Village art scene that includ...

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