Early 1900s Wall Decorations

Majolica dragonfly wall pocket by Fives Lille, circa 1900.   

French Oyster Plate Porcelain Flowers Limoges circa 1900.

Lovely Majolica pink & purple cyclamens flowers plate signed Schultz Cilli, circa 1900, Art Nouveau.

Artist Arthur Alfred Davis (British, 1877-1905) “Into the River” 19th century sporting oil painting of dogs hunting Image size: 30”x 20” With frame: 35” x 25” Oil on canvas landsca...

A wonderful and very coveted original large-format photogravure by iconic American photographer Edward Curtis (1868-1952) titled "Mosa Mohave" Of this image Curtis noted “It would b...

A set of 4 very large charming hand painted panels with figures, birds and flowers on paper. Could have been wallpaper. The frames are trompe l'oeil and a continuation of the paper.

Edward S Curtis (1868-1952) Title: Gambler Piegan Plate: 194 Portfolio: Volume 6 Printer: Proof print printed by John Andrew & Son Medium: Photograv...

Original antique drink advertising poster for Albert Robin Cognac featuring a stunning design by the renowned poster artist Leonetto Cappiello (1875-1942)...

Discover timeless elegance with this framed vintage Turkish Anatolian Killim Rug. Crafted from natural wool, its intricate geometric patterns, and vibrant colors add a touch of histo...

Late 19th or early 20th century Shaker textile with colorful and graphic horizontal bands and scalloped border. Ohio/Pennsylvania origin. Professio...

An antique framed map of Puerto Rico. Very nice antique map of Puerto Rico printed in a folio of two pages. This map was printed in thin pa...

This vintage wooden wall shelf offers a pragmatic storage solution with a charming country demeanor. Made in France at the turn of the 19th c...

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...

French Majolica oyster plate signed Longchamp, circa 1900.

Original antique advertising poster for Hurtu bicycles featuring a great illustration of a fashionably dressed lady wearing a black dress and feathered hat riding a bike against a ye...

Relief made of carved and gilded wood. Some chip and repairs. Differences in shade. Wear due to age and use.

Large German Majolica grape plate, circa 1900.

Great image of medical interest. Unframed. Published, circa 1900. Free shipping

Original antique advertising poster for Liqueur Menthe Pastille E. Giffard distillateur Angers featuring an Art Nouveau style illustration of an elegant lady in a fashionable green d...

Large Majolica pink butterfly wall pocket signed Fives Lille, circa 1900.

Porcelain Oyster Botanical Plate Limoges, circa 1900.

French vintage painted shooting targets made of wood. This unique set from the turn of the century brings character and authenticity to a space!

One of the most iconic poster designs of the 20th century by one of the most revered poster artists. Founded in 1836 Cognac Pellisson is a French Liquour company that continues to today. Here the poster promoting the brand depicts a woman carrying an oversized barrel of the cognac in typical humour. This beautiful poster for the French brandy...

From Japan, a large hand-painted Nippon porcelain cabinet or wall plate showing roses and gilded accents, circa 1900. Nippon porcelain was made in Japan from 1891 to 1921. Nippon is...

Circa 1900s France. French Makers Mark on Back as Pictured. Vintage Condition Consistent with Age. Art Nouveau Motif. Stand not Included. Dimensions. 18 Diameter; 1 D

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...

True Arts & Crafts two-tone geometric pair of stained glass windows. Subtle workmanship which exudes simplified elegance. In very good or...

Title: Military Lithographs – Prussian Soldiers on Duty by R. Knötel, 1900 Description: These fine lithographs, created by Richard Knötel in 1900, depict scenes of Prussian soldiers...

Antique French Tapestry Art Nouveau Handmade Antique Tapestry Verdure 6'10" x8'5" 208cm x 257cm Circa 1900 'Beautiful antique French tapestry depicting a scenic view including ma...

Great image of medical interest Unframed. Published, circa 1900. Free shipping

French Porcelain Puttis Platter Circa 1900. Diameter / 10.7 inches.

Large French Majolica Fish Platter Fives Lille Circa 1900. 15 by 6.3 inches.

Original antique cabaret theatre poster advertising a performance - T'en Auras Parisiana Revue en 3 actes & 10 tableaux de MMrs H. Moreau Verdellet & Ch, Quinel - You'll Get It a rev...

Title: Mythological Scene – “Nymphenraub” by Franz von Stuck, 1900 Description: This striking color lithograph, titled “Nymphenraub” (Abduction of the Nymph), was created by Franz v...

Humorous Portrait of a Woman in Black Dress with Whimsical Pots, c. 1900 This intriguing artwork captures a woman in an exaggerated, almost theatrical pose, dressed in a striking bl...

World’s Columbian Exposition 1893 – Set of Photographic Prints Featuring Iconic Buildings and Statues Title of the Publication: Vorlage-Blätter für Photographen Band V, Heft I: 1902...

Wonderful piece of green glass with an amazing bubbly interior. Most likely originally a doorstop or a paper weight Good condition. Free UK shipping

Jugendstil Brass Relief with floral motiv brass original patina around 1908 Original condition Original patina

Great image of the sun Unframed. Chromo-lithograph Published, C.1900 The measurement is the paper size of the print Free shipping.

Majolica corn Keller & Guerin Saint Clement Plate.   

Noblewoman’s Ceremonial Overskirt Shoowa People, DR Congo First half 20th century Raffia, palm fiber, stem stitch and cut pile embroidery 49 x 23 ins. (124.5 x 58.5 cm) The eroded ...

French Majolica oyster plate signed Longchamp, circa 1900.

This is a beautiful, elegant and striking still life oil painting of a Lobster with fruit on an overflowing laid table with silverware, basket or fruit, foliage an upturned crab and ...

Majolica Art Nouveau asparagus plate with mums signed Keller et Guerin Saint Clement. 9 inches diameter. Every important French manufactures produced at the end of the 19th Century a...

We are delighted to offer for sale this lovely pair of circa 1880-1900 Persian hand painted silk wall hangings depicting oriental scenes. A very...

Majolica dragonfly wall signed pocket by Fives Lille, circa 1900.  

Great image of medical interest. Unframed. Published, circa 1900.

Lovely Majolica pink & purple cyclamens plate signed Schultz Cilli, circa 1900, Art Nouveau. Diameter / 6.7 inches.

A pair of petit point needlework panels, framed in walnut frames, that have candle arms and sconces fitted to the bottoms. In the style of early 18th century originals, but worked in...

Great image of the solar system Unframed. Chromo-lithograph Published, C.1900 The measurement is the paper size of the print Free shipping.

Majolica Art Nouveau asparagus plate with cyclamens signed Keller et Guerin Saint Clement. Every important French manufactures produced at the end of the 19th century asparagus and a...

Relief made of carved and gilded wood. Some chip and repairs. Differences in shade. Wear due to age and use.

Antique Black Forest Deer Head ca. 1900s A lovely carved wooden Black Forest deer head. Handmade in baroque style around 1900. It features a real deer horn trophy mounted on a carve...

Antique map of Colorado Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

Pair Great Black Forest Wall Sconces with Deer Horns, Germany ca. 1900 An antique pair of Black Forest sconces for candles. Each made of original deer horns which are mounted on a t...

Small Majolica sunflower plate Villeroy & Boch, circa 1900. Diameter / 6.6 inches.

Majolica Art Nouveau asparagus plate with cyclamens signed Keller et Guerin Saint Clement. Every important French manufactures produced at the end of the 19th century asparagus and a...

Heron & Plovers Ink and silver leaf on paper Maekawa Bunrei (1837-1917) A pair of low six-panel Japanese screens by Maekawa Bunrei, a later master of the Kyoto based Shijo school of painting. On the right screen a solitary white heron stands motionless in a stream. On the left screen plovers play along a shoreline. The elegant forms are executed employing fluid, minimalistic ink brushstrokes. The soft brushstrokes and the sharp light of the silver leaf lend the scenes a sense of translucence. The sophisticated composition superbly exploits the long, horizontal pictorial surface of the pair of folding screens...