19th Century Wall Decorations

Antique print titled '1. L'Holocentre Salmoïde 2. L'Holocentre Panthèrin 3. L'Holocentre Verdâtre'. Old print of the crowned squirrelfish and other fish species. This print originate...

Wonderful print of a Chinese and Japanese plate Lithograph Published by A.Morel, Paris, France, circa 1860 Unframed.

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

Very beautiful late 19th century Aubusson tapestry with a beautiful design and colors, wool and silk woven on cotton foundation.

Great image of a Willow Warbler Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Alexander Francis Lydon. Original ha...

Antique print titled 'Ardea Ralloides'. The squacco heron (Ardeola ralloides) is a small heron, 44–47 cm (17–19 in) long, of which the body is 20–23 cm (7.9–9.1 in), with 80–92 cm (3...

French Botanical study of various flora from the end of the 19th century and beginning of 20th century, plate includes species identification. The frame is from reclaimed wood. Part ...

Great image of Kingfishers 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. ...

A rare extra-large print, printed on engraving paper with an antique star press and watercoloured by hand representing an antique capital. The capital'...

French oak hand carved Gothic revival panel. There are three available. Each panel is 1" deep by 8.5" wide by 13" high.

Circa 1870’s antique Currier & Ives colored lithograph print titled “Look at Mama,” featuring a mother showing a portrait of herself to an infant at her shoulder. Measures: 14.75”...

A reclaimed 19th century wine tabletop with a beautiful original canvas top. Soft cream colour with faded original toile. Displayed as a painting its a fine example of art made by t...

Arthur Joseph Meadows may rightly be considered the leading member of this prodigious and prolific family of artists. His father James Meadows, Sr. instilled in him a technical appreciation for accurate coastal views of Europe, and young Arthur set out to see and paint as many as he could find. Traveling extensively throughout England, Holland and France, Meadows also took to the Mediterranean Ocean...

Although Alex de Andries was Belgian, his career began as a soldier in the service of the Swedish and later of the Spanish Crown. As a painter he established himself with his costume...

John Leon Moran (American, 1864-1941), Woman Making Hay, oil on board, signed lower center. This is a charming and evocative painting of a bygone era. The woman, dressed in working clothes and barefoot, is holding a pitchfork. The figure of the woman is very strong while the background is soft and somewhat abstract. Please Note: This painting will be professionally packed for parcel shipping. Dimensions: 29"h x 18"w (sight) 39"h x 27"w (frame) CONDITION: Good/Fair. Upper left portion of painting has areas of paint loss (see photograph) otherwise generally good. Frame and matting in good condition. Provenance: A Michael Greer...

‘Off to the fishing grounds’ is a beautiful marine landscape signed and dated by James Webb. From an artistic family, his father and brother artist in their own right, Webb studied ...

J. Foxcroft Cole, born: Jay, Maine in 1837, and died: Winchester, Massachusetts in 1892. As a young man Cole worked with renowned American artist Winslow Homer and was actively suppo...

Rare American folk-art Memento Mori of Hiram Aluro Hill, died age 11, 1845. Good penmanship, watercolor and albumin glaze with borders intact. Foster brothers of Boston frame. This was purchased from...

Set of 6 antique botanical prints. 1) Reamuria Hypericoides 2) Stachis Arenaria 3) Pentstemon Diffusum 4) Gloxina Speciosa 5) Clematis Crispa 6) Petrea Volubis. These prints originat...

Signed With The Initials 'LB' and Incised With The WTC Copeland monogram. A mounted lancer gallops across the frame displaying the peg that he has uprooted from the ground, while oth...

This is a wonderful example of an antique French Verdure Tapestry from the late 17th/ early 18th Century depicting a serene countryside landscape on the banks of a river. The shape o...

Great image of dogs 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. Publi...

19th century French hand-colored engraving after Grandville, titled and numbered LXIV. L'innocence en danger, signed in engraving FJ. Grandville. One other engraving available in sim...

Old print of Persian decorative art. This print originates from 'L'Ornement polychrome'. A beautiful work containing about 2000 patterns of all the styles of Art old and Asian, middl...

A stunning pair of columns or a pair of terracotta stands painted with an oriental scene on one and a Japanese scene with two cranes in a pond and water lilies on the other. French w...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

19th Century, Ancient Golden wooden wall sculpture Depicting A Lion's Head. Object of good quality and ideal for artistic compositions or wall decoration.

A very good quality pair of late 19th century carved giltwood garlands of grapes, apples and cherries with bows and ribbons. Also a carved giltwood basket of flowers. In the style of Grinling Gibbons.

China Trade set of six Gouache Still Life Paintings of Fruit & Flowers on Pith Paper, Each Signed Sunqua, mid-19th century The fine China Trade pith paper painting...

Large British Sailor's Woolwork of the Barque Polly, Named "Polly", Circa 1885-95 A large sailor's woolie or woolwork of a port side view of a ship named "Polly" under full sail. The ship is rigged as a barque. The name "Polly" can be seen on a banner flying from the mainmast and on the front of the bow and the shiop was named after the owner's wife Marian Poyy Woodside. (see below). The sails are trapunto, creating a three-dimensional look of the sails full of wind. The sea is depicted is rippling bands of green and white. Dimensions: Frame: 26 1/4 inches high x 31 inches wide x 2 inches Reference: The ship was built in Belfast, Northern Ireland, in 1885, and launched by Marian "Polly" Woodside, the wife of the owner, tossing flowers across the bow. (Champagne being too precious). The ship made several voyages primarily between South America and the UK before being repositioned in the Pacific. A barque has three or four masts. The fore and mainmast are square-rigged, and the mizzen fore-and-aft, usually gaff-rigged. Carries a mainsail on each mast, but the mainsail shape differs per mast (square or gaff). Barques were built with up to five masts. Four-masted barques were quite common. Barques were a good alternative to full-rigged ships because they require a lot fewer sailors. But they were also slower. Very popular rig for ocean crossings, so a great rig for merchants who travel long distances and don't want 30 - 50 sailors to run their ship. A label on the reverse states that the wool was on The Antiques Road...

The pair of large Sailor's woolwork pictures are within maple frames and a gilt inner border with a sand colored mat. These are known as woolies. The pictures are a true pair with all the details reversed with the ships facing towards each other. The wools have a central round panel depicting a ship on stormy seas with puffed sails and arrayed around the panel are eight flags, four to each side. On the outside is the United States flag depicted in blue and white below which is an unidentified British flag, the Turkish flag...

A Korean embroidered silk rank badge (Hyungbae in Korean) from late Joseon Dynasty circa the end of 19th century. The badge features a design of double leop...

Three mounted and giltwood framed chromolithograph plates from L'Ornement Polychrome: Motifs de tous les styles, art ancien et asiatique, Moyen Age, Renaissance, XVIIe et XVIIIe siècles, by A. Racinet, 1869-1873. Published by Firmin-Didot, Paris. Specifically, the three framed plates are Middle Ages, Renaissance and 17th century. This reference work “created to render major services to our industrial arts” brings the archeological art...

This portrait miniature, which depicts Marie Antoinette, is after a famous original by Le Brun. The current miniature is finely and skillfully painted, rendering an accurate represen...

We present you with this beautiful Russian icon from 1875, depicting Mother Mary carrying baby Jesus in her arms. Made by the Moscow School, its tempera was crafted on a vermeil silv...

Pair of antique quality Black Forest carved wall brackets having a male and female carved goats with a shaped carved back and top

Rare 19th century Majolica fish heads oyster plate from North of France (Onnaing unsigned). Reference: Page 130 "Collecting oysters plates" of ...

A framed hand colored engraving by the British artist and engraver Charles Hunt & Son (1803-1877) Motif: "Chamant". Horse and rider. See text on photo. Original condition with light ...

19th Century Farm Thresher used to separate the usable part of the grain from the straw to which it is attached. Dragged by farm animals with the stone face on...

Large antique orange and yellow "Phulkari" embroidery textile. Floss silk threads on cotton. Ideal as a wall hanging or table cloth. Size: 40" W x 10...

Collection of five 19th century folk art wooden grain shovels with great patina. Ca 1800 - 1840 Sweden. Measurements: Height from 88 - 98 cm. Width from 19 - 31 cm.

Raimundo De Madrazo Y Garreta (Spanish School, 1841-1920) an exceptional and palatial oil on canvas "Portrait of Isabelle McCreery” depicting an elegant woman gracefully exiting a litter (Sedan Chair), situated within a lovely fairytale setting of a fantastical vista dominated by verdant and blue-green hues, a pair of swans and a lily pad frame the scene in the foreground, within it's original impressive and ornate French 19th Century Rococo Style gildwood carved and gesso frame. Signed and dated ‘R. Madrazo, 1880' (lower left). At the bottom center of the impressive frame there is a gilded, wooden cartouch bearing in italicized script “Portrait of Isabelle McCreery.” This is original to the frame. Sometime after the death of the artist, possibly at the time the painting was given to the Fine Arts Museums of San Francisco, the painter’s name was added in block letters. Provenance: The Fine Arts Museums of San Francisco (Donated by Mrs. Richard McCreery in 1950). M.H. de Young Memorial Fine Arts Museum, Golden Gate Park, San Francisco. Christie's New York, 31 December 1969, Sale Property of the Fine Arts Museums of San Francisco, Sold for the Benefit of Museum Acquisitions Funds. Lot 80A for $20,700 Canvas Height: 104 ¾ inches (266.1 cm). Camvas Width: 68 ½ inches (174 cm). Frame Height: 132 inches (335.3 cm). Frame Width: 87 ½ inches (222.3 cm). The work of Raimundo de Madrazo, an artist who lived in Paris the greater part of his life, is among the most representative and influential of the ‘school’ of Spanish painters resident in Paris during the nineteenth century.” (Carlos González and Montse Martí, Spanish Painters in Paris 1850-1900, London, 1989, p. 53). The wonderful imagination and artistic genius of Madrazo y Garreta established his fine reputation, and created an international demand for his exquisite portraiture. This particular work features an elegant woman who gracefully exits a litter, situated within a lovely fairytale setting of a fantastical vista dominated by verdant and blue-green hues. Isabelle McCreery was a member of the noted Gold Rush pioneer McCreery family of Irish background who settled in San Francisco in the mid nineteenth century. She later lived in Burlingame, an early San Francisco...

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

A large antique dog (canine) portrait offers needlework depicting a cavalier King Charles Spaniel, framed, C1890 Measures- 25.75''H x 35''W x 2''D; 28.24'' x 18.5'' Sight

Stunning, solid oak Dutch Renaissance Revival coat and hat rack with noble men or merchant carvings. We all know how important first impressions are and with this stunning 19th century coat rack you will never fail to impress anyone entering your home or office. The quality of the deep and detailed carvings is wonderful and the condition is nothing short of amazing. And how about those superb condition, original solid oak hooks? They are like the proverbial cherry on the pie and they too are highly practical and very safe to hang your coats on. Because of their size, they can also be used for hats and caps. On either side of this work of art coat rack is a noble man sculpture and it is our strong belief that this particular piece was hand-crafted for a partnership of two wealthy and/or important males...

Unique and striking Gothic Revival wall cabinet with perfect working lock and key. This handcrafted and probably unique Gothic Revival wall cabinet from the late 1800s is another one of our magnificent recent finds. The size, the quality in the large amount of hand-carved Gothic details, the patina and the excellent condition make this another perfect purchase for collectors of this ancient and highly decorative style. The overal design, including the Gothic church window in the door, is right up there with the best we have seen to date. However, what makes this Gothic work of beauty really stand out for us, is the combination of the patina of the light tiger oak and the perfect condition, green cathedral glass panel in the door. That combination truly is a joy to look at. The door, by the way, still opens and shuts tight perfectly and it comes with a perfect working lock and key. Have you also noticed the original, gilt bronze lock plate? That is a work of art in its own right. The clean inside of this cabinet comes with two removable, solid oak shelves and the inside of the door is veneered with a wonderful bird's eye maple. On the back of this unique and antique Gothic cabinet...

George Vempley Burwood British (1844-1917) signed and dated. Sailing ship, schooner diorama shadow box with figures and painted background.

Mid 19th Century hand embroidered and hand crafted “Kashmiri Pieced Shawl” in “Butterfly” pattern in red, black, turquoise, and ivory Colors. This is an extremely rare shawl and is known as "Kashmiri Pieced Shawl" which is a hand embroidered and hand sewn piece to create the shawl. It is made of antique textile pieces that have carefully been sewed together to make a beautiful design. The Kashmiri shawls became an extremely fashionable item of clothing when Queen Victoria started wearing them. Most of the antique shawls known today are the “Paisley” shawls from the 1800s that used the concept and design of this original piece and were machine woven in the town of Paisley Scotland...

' The Phasianus Colchicus, look there it is! A little to the left from that tree, straight underneath the flower branch...' This wonderful vista is a lovely look at nature due to th...

Great image of a shag and a teal Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph heightened with gum Arabic. Origina...

I would like to introduce a very interesting item. This item is a Japanese farming tool made from the Meiji period to the Taisho period (1868-1920). This funnel was originally used...

Antique map titled 'Vienne'. Original antique map of the city of Vienna, Austria. This map originates from 'Abrégé de Géographie (..)' by Adrien Balbi. Published 1847.

Majolica grape plate signed Villeroy Boch Circa 1890.

A large French Majolica chesnut leaf, circa 1890.

An extremely rare intricately carved 19th-century Anglo-Indian wall bracket or shelf. This exquisite piece is beautifully made . Intricately carved throughout with breathtaking d...

Pair of 19th to early 20th century hand painted wood diptych panels / icons depicting the Annunciation - the Biblical / Religious event when the Archangel Gabriel tells the Virgin Mary she will be the mother of Jesus - one showing Mary holding a scarlet prayer book and a dove (a symbol of the Holy Spirit) beside her, and the other showing Gabriel wearing a crown of roses, displaying shining wings, holding a white lily branch. After Fra Filippo Lippi...

A wonderful wrought iron bell used as a notification someone has entered or moved a door - could be used at home, in a shop or in a barn. or as a dec...

Anglo-Indian wall bracket or shelf. Circa 1880s An extremely rare intricately carved 19th-century Anglo-Indian wall bracket or shelf. This exquisite piece is beautifully made . ...