Early 1900s Wall Decorations

Wonderful red ochre print of an 18th Century Francesco Bartolozzi engraving after Anjelica Kauffmann. Publshed by Otto Limited, London 1907 Text...

French Majolica bird plate Keller & Guerin Saint Clement circa 1900.

A great antique anatomical chart depicting the different sense organs. the chart is sheet number VI as part of the architecture of human anato...

Early 20th Century Chinese Silk Embroidery ( 16'6" x 22' - 503 x 670 )

Edward S Curtis (1868-1952) Title: Autumn - Apsaroke Plate: 130 Portfolio: Volume IV Printer: John Andrew & Son Medium: Photogravure Date: 1908 Edwar...

A rare, domed, black, white & blue enameled Art Nouveau advertising plate. Designed by Josef Hoffmann in 1905 for Wiener Werkstatte (founded by Josef Hoffmann, Koloman Moser and Frit...

Large Black Forest 10 Pointer Red Deer Trophy on Wooden Plaque 1902 An antique uneven 10 pointer red deer (Cervus elaphus) trophy from the Black Forest. The trophy was shot in 1902....

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

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...

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...

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

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...

Structure of his favourite kind of keel by Charles Sibbick the designer, similar to the modern boats racing today in America's cup. It is a part of a project for a 52' linear rater f...

Early 20th Century Pheasants Oval Copper Mold Form

Original antique poster advertising the Touring Club de Belgique featuring a stunning Art Nouveau design by the Belgian artist Georges Gaudy (1872-1940) depicting a colourful country...

Antique 1900s French Framed Tapestry of Monochrome Silk Woven. Beautiful old woven silk from Staron & Meyer Saint Etienne. Divine Images of the couples framed within a wooden pictur...

Great images of apples and pears Lithographs with original color. Published, circa 1900 Unframed.  

Each hand-carved swag with plump fruit and vegetables nestled among flower heads and foliage.

France / 1900 / sculpted frieze / oak / Antique / Baroque / Rococo A beautiful baroque style frieze or wall ornament in oak. Hand carved in France around 1900. A very decorative p...

Antique ship vessel handle wheel.

Hard to capture the beauty of these rare stained glass Art Nouveau windows. They come alive when let by natural sunlight to display dazzling warm hu...

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

Nice set of 13 alphabet prints. These prints are part of a large collection of fonts that were used to design lettering on facades, windows and billboards. You can also see this by the first letter, which is always placed in a grid, so that the painter could scale this letter. These prints are from France, circa 1900. They are all framed with a narrow burr walnut frame...

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

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...

Large French majolica oyster platter with handle Orchies, circa 1900.

Maurin Quian Le Puy France poster the largest size ever made. Originally made in three section as the manufacturing process could only make up to a certain size...

Painting with Summerly High Mountain Landscape ca. 1900s A beautiful impressionist oil painting depicting a summerly high mountain landscape with a mountain hut and peasant woman in...

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...

Antique Tapestry French Figural Tapestry Verdure Battle 5' x 8'10" (5' x 9') 152cm x 269cm Circa 1900 "This is an Rare Antique French Aubusson Tapestry with monogram signat...

Antique Austrian Majolica crawfish plate, circa 1900 signed Schutz Cilli. Nautical style.

Good size and great looking Gothic Revival bracket for displaying a statuette. This Gothic console for wall mounting dates from the early 1900s and it has the most timeless design a...

A Tibetan, traditional hand-woven textile in silks. Framed behind glass, against a raw linen background.

French Majolica Bee Wall Pocket signed Sarreguemines circa 1900.

French Faience Blue & White Bird Plate Moustiers Style Moustiers style Martres Tolosane, circa 1900.  

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

French Majolica Frog Wall Pocket Jerome Massier Fils Vallauris, circa 1900. The Massier are known for the quality of their unique enamels and paintings. The Massier family produced d...

German Majolica Cherries plate, Circa 1900.

Insika (Screen or Wall Panel) Rwanda-Burundi, Tutsi people Circa 1900 or earlier Natural fibers and dyes H 23 ins (58.5 cm) W 16 ins (40.5 cm) Depth 3 1/2 ins (9 cm) This superb ...

In this captivating early 20th-century English oil on canvas painting, the essence of rural life is vividly captured as a majestic hound sits regally amidst the rustic charm of a hay loft, ready for the morning hunt...

French Majolica flowers plate Orchies Circa 1900.

Ó/L “Peace and the arts are worth more than the brutal glory of weapons”, Philippe Swyncop, 1903 – Belgium, Flemish School Exquisite oil on canvas si...

A rare, domed, black, white and red enameled Art Nouveau advertising plate designed by Josef Hoffmann in 1905 for Wiener Werkstätte. The Wiener Werkstätte, founded by Josef Hoffmann,...

Original Vintage Alcohol Poster for Champagne Delbeck dating from 1902 by Leonetto Cappiello. Artist: Leonetto Cappiello (1875 - 1942) Title: Champagne Delbeck Date: 1902 Size: 33 x 54.5 in / 96.5 x 138.5 cm Printer : Imp. Vercasson, 43 rue de Lancry, Paris Materials and Techniques: Colour lithograph on paper Linen backing: Yes Condition: A (Normally designates a poster in very good condition. Colours are fresh and there is very little or no paper loss. Any imperfections are marginal and unnoticeable). Details: Advertising poster produced by Leonetto Cappiello for Delbeck champagne in 1902. This is one of three Cappiello posters on the theme of Champagne. Champagne Delbeck is a Champagne House located in Reims (Marne) and founded in 1832 by Félix-Désiré Delbeck. In 1838, the house "Delbeck et Cie" became "the exclusive patented supplier" of the Court of France. In the history of Champagne, it is the only house to have received authorization to bear the "royal privilege" symbolized by the three fleur-de-lys on its labels. About Leonetto Cappiello, The Father of Modern Advertising Leonetto Cappiello, born on April 9, 1875, in Livorno, Italy, is considered a pioneer in the world of advertising, often referred to often hailed as the "father of modern advertising." His groundbreaking work in poster design revolutionized the industry and cemented his status as a visionary artist. Cappiello was renowned for his innovative and impactful poster designs, characterized by bold colors, simple forms, strong outlines and a strong focus on the product. His work significantly influenced the development of advertising as an art form. Initially drawn to caricature, Cappiello's true genius blossomed when he shifted his focus to poster art. His innovative approach, marked by bold colors, simple colours, simplified forms, strong outlines and a strong emphasis on product identification, set him apart from his contemporaries. Cappiello’s posters were instantly recognizable, capturing the essence of a product or brand in a single, powerful image. His work significantly influenced the development of advertising as an art form. The artist's career flourished in Paris, where he immersed himself in the vibrant artistic scene and his work spanned various industries: Food and Beverage: Campari, Cinzano, Café Martin...

Old English lithograph named; "The Woodland Gate". Please note extensive foxing on the perimeter.

This is a wonderful Limoges porcelain plaque painted by the Limoges sought after artist Dubois. It is beautifully painted. It depicts a group ...

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

1900 Antique French Tapestry Wool & Silk Game 7x7 Square 6'5" x 6'7" 196cm x 201cm "This is an outstanding antique French Aubusson tapestry in a fantastic large square size- This wo...

Wonderful print of a famille noire Chinese vase. Lovely colors. Chromolithograph Published by Connoisseur, circa 1900 Unframed.

Oil on canvas "Dackelwelpen Biem Spiel" (Dachshund Puppies at Play) by Simon Ludvig Ditlev Simonsen (Danish, 1841-1928) Education: Royal Danish Academy of Fine Arts Size (Unframed) 6...

Glorious set of 12 prints of English family coats of arms or armorials Chromo-lithographs Published C.1900 Unframed. The measurement given is the paper size of one print. Free s...

Majolica Plate Red Lillies Villeroy & Boch,

Original Vintage Poster for Cognac Pellisson by Leonetto Cappiello dating from 1907. This is the larger version of the two posters printed by Leonett...

A hand painted Chinoiserie design in oil on rice paper, mounted on board. Depicting village figures in a scene with buildings, mountains, and greenery. The design is based on an exam...

Sensational image by Frederick Simpson Coburn In the style of one of my favourite artists, Goya Photogravure Limited edition of 300. This is No. 84 From The Complete Works of Edg...

Antique map of Michigan ( Southern part ) Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

Original antique bicycle advertising poster for Peugeot Cycles featuring a great illustration of a smiling elegant lady in a fashionable dress, flo...

Liberty and Co. An Arts and Crafts wall cabinet with gold stencilled lion and a motto ''THE MAN WHO SMOKES THINKS LIKE A SAGE AND ACTS LIKE A SAMARITAN", BY Edward Bulwer-Lytton, 1st...

Antique map of Ohio ( Southern part ) Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

Lovely image by Beatrix Potter Rescued from an early edition of " The Tale of Two Bad Mice " Possibly a 1st edition from 1904 The measurement given is the paper size not the actua...