Louis XVI Wall Decorations

Antique 18th century French Louis XVI / Neoclassical painted boudoir hand fan. White sticks pierced with foliate / floral designs as well as trumpets and sheets of music; gilded acce...

a fine Aubusson verdure tapestry from the early 19th century. A beautiful small tapestry, easy to place, in pastel shades. The pastel colors gives it a lot of charm and makes it a ve...

Gorgeous Italian Gold Leaf Wall Shelf. This vintage large bracket could certainly stand alone on a wall or functional to hold a treasure on top. Wonderful classic addition to any liv...

Refined pastel portrait in a carved and gilded wooden frame. The painting depicts a young girl wearing period clothing and hairstyle typical of the 18th century. Her hair is tied bac...

Pair of 18th Century painted architectural fragment panels with putties, one of the panels has Louis Seize decorations The panels were ...

French vintage 20th century mirror-back hanging wall shelf in Louis XVI style gold gilt frame. The arched top of the mirror is crowned with a floral garland, transitioning into a lay...

PIERRE ADRIEN CHABAL-DUSSURGEY (1819-1902) Designer - BEAUVAIS TAPESTRY MANUFACTORY Maker - Important Antique Louis XVI style floral tapestry chair back - 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 - 20" (51 cm.) Wide x 19 1/2" (49.5 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...

With ribbon and bow carved and trailing bell flower over the barometer dial. The dial with grisaille painted maker inscriptions and dial pointers , within a circular giltwood frame. ...

18th Century Portrait of a French Nobleman in Original Louis XVI Giltwood Frame. Canvas is mounted on board. Nobleman is depicted in a luxurious burgundy velvet robe trimmed with go...

19thc French Antique Louis Rococo style Floral Aubusson Tapestry. I found this beauty in Nice France. There is a small stain on border top left. Not detracting at all. Birds, trees p...

19th Century French hand carved and hand painted in light beige wall decorative panels in Louis XVI style in very good authentic condition with no restorations.

Each with a removable brown and white serpentine marble top supported on a gessoed and water gilded carved oak and stylized palm leave brackets. The gilding is dry and subtle with gr...

Decorate a living room wall or study with this elegant and colorful 18th-century Aubusson gouache painting. Created in the renowned tapestry-making city of Aubusson, France circa 176...

Decorate a wall or intimate space with this charming pair of antique pastoral watercolor paintings. Crafted in France, circa 1780, each composition is set within its original carved ...

A gorgeous antique 19th Century French Louis XVI style gilded bronze floral garland wall swag / cornice / appliqué / wall ornament / hanging decor. Signed by the artist on reverse. T...

A distinguished pair of noble portraits Likely painted by Hans Hansen (1769–1829) or another artist from Circle of Jens Juel. These portraits are masterfull...

Fine pair of Louis XVI giltwood brackets, the later shelf with beaded edge over scroll supports with lamb's tongue and acanthus leaf carving with oak leaf carved finials.

Just in, this Pair of Rare Italian Hand Painted Pastoral scenes Panels, called "Harvest Time" by Italian artist Duane Perrigo. Beautiful blues and whites hand painted on Wood board...

Dimensions - H: 57 1/2 in W: 24 3/4 in D: 1 in Elevate your interior with this stunning pair of 20th-century Louis XVI style carved wood and gilt accent wall panels, exquisitely cr...

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

Hand-colored French map, Carte de la Partie Nord, des Etats Unis, de l'Amérique Septentrionale, late 18th century. A French map of New England published at the end of the Revolutionary War...

This wooden gilded wall corbel or shelf is beautifully constructed and ornamented with columns down the center with a floral final at the tip. This wood gilt piece would be a wonderf...

18th century French school, portrait of an aristocrat woman circa 1760 - 1770, oil on canvas set into a Louis XVI style frame (the frame is a 19th century production ; it is gilt wit...

Five-paneled French gilt folding screen. Perfect for privacy or for covering up an area. Gorgeous carved wooden gilt design with caning and hand pa...

Possibly late 18th century but most likely 19th century painted arched painted panel. Either a panel intended for a trumeau or to be inset into wall boiserie as a trumeau. The upper ...

French Louis XVI (18th Cent) oil painting portrait of a young man in a brown jacket leaning on a table with papers in a stripped carved frame (att: JEAN-MARC NATTIER) (companion port...

76928 Late 19th-Century Antique French Aubusson Verdure Tapestry, 04'02 x 06'10. This hand-woven silk and wool late 19th-century French Aubusson verdure tapestry captures the cultivated serenity of the French countryside, rendered with a softness reserved for aristocratic interiors and grand maisons. Created during a period when Aubusson ateliers mastered the art of pictorial storytelling, this extraordinary masterpiece feels less like décor and more like a window into a gentler world. Its presence carries quiet authority, the kind associated with salons, libraries, and country estates curated with confidence and restraint. The central landscape unfolds as a layered pastoral scene—rolling ground punctuated by dense foliage, flowering shrubs, and roaming fauna nestled among trees and grasses. Birds and animals appear not as focal declarations, but as integral elements of a balanced ecosystem, reinforcing the verdure tradition’s devotion to harmony between nature and human contemplation. The scene invites stillness, offering visual depth that rewards prolonged viewing rather than immediate impact. Encircling the exceptional composition, an elegant floral scroll and bird border flows seamlessly into the pictorial field, dissolving the boundary between frame and landscape. This integration is a hallmark of refined Aubusson design, where ornamentation enhances narrative rather than competing with it. Beyond this, an outer zigzag chevron border introduces rhythm and contrast, adding a subtle architectural cadence that enlivens the overall composition without disturbing its tranquility. The palette is exquisitely nuanced—variegated browns moving from deep chocolate to sun-warmed sand, softened by ecru, taupe, pale green, sage, slate blue, old gold, and muted florals of rose, lavender, and red. These tones evoke the shifting light of late summer and early autumn, lending the exquisite work of art an atmospheric richness that feels both grounded and poetic. To own this Aubusson verdure is to claim a piece of European decorative history—an object of prestige, rarity, and cultivated taste that transforms any interior into a sanctuary of timeless elegance. With its commitment to tradition and heart full of whimsy, this antique Aubusson wall hanging...

78665 Antique Turkish Silk Hereke Prayer Rug, 03'05 x 05'03. An extraordinary masterpiece of cultural distinction and refined artistry, this hand-knotted antique Turkish silk Hereke ...

Hand carved during the reign of Louis XVI, this linden wood and oak plaque was originally a boiserie panel that would have adorned the wall of a French manor...

A French Louis XVI period painted and hand carved wooden boiseries panel from the late 18th century, with monogram, swag and fruit motifs. Born in France during the second half of the 18th century, this exquisite painted boiseries features a central monogram set inside an oval medallion, accented with a swag adorned with delicate fruits in its extremities. Ribbon-tied at the top, the carved panel charms us with its perfectly harmonious décor and soft color, framed with rais-de cœur motifs. Hung anywhere in a room, perhaps above a chest-of-drawers, side table or credenza, this Louis XVI 18th century painted...

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...

View of Paris from Pont-Royal to Pont-Neuf, Engraving by Pierre-Gabriel Berthault, 1786 This elegant late 18th-century engraving by Pierre-Gabriel Berthault (1748–1819) offers a swe...

A rare and unusual matched pair of Louis XVI style gilt bronze-mounted wall vitrines by Joseph-Emmanuel Zwiener. French, circa 1890. Signed ‘E. Zwiener’ to the base of the bro...

This refined oil on canvas portrait captures a distinguished gentleman in half-length, presented within an illusionistic oval reserve against a darkened background. The sitter, portr...

Portrait of a Young Woman, pastel drawing, presented in its original oval frame protected by glass, 18th century Delightful portrait of a young noblewoman in the fashion of the late...

An 18th century French Louis XVI style trumeau mirror with a large painting depicting Venus at the Forge of Vulcan. Fine quality oil on canvas with vivid color. Gilded wood frame is ...

Most recently taken out of a Paris apartment, this set of 6 18th Century French theater panels creates a dramatic look for a bedroom or living room. The set includes two panels with ...

19th century French Framed, Carved and Painted Panel is a superlative decorative element that was hand carved by a particularly talented sculptor out of dense, old-growth white oak. ...

In the 18th century the most important tables in Europe they were richly decorated with all types of fruit and flowers. To obtain the maximum effect of beauty and amazement, the sple...

A stunningly beautiful 18th century French gold gilt barometer is a weather instrument with mercury-filled glass thermometer still in working order...

Frederik Hendrik Kaemmerer (Dutch, 1839-1902) Courting scene mezzotint, circa 1880s. McClees Galleries, Philadelphia label. sight: 13 ½ by 16 ½ inches frame: 18 ½ by 23 inches

French Louis XVI style (18th Century) blue & green Aubusson Verdue landscape tapestry with castle in background and herons in foreground with rust colored border.

Exceptional craftsmanship on this 18th Century French Louis XVI pine panel. With deep and crisp craving and time worn superb patina. Circa 1780.

Pair of antique gilded half capitals: rare, precious, beautiful. Place them on a wall wherever You want: under sconces, on two half-columns... Ask Your architect for advice. ref. O...

French gilt filigree carved framed oil painting portrait of 18th Century lady wearing pink bow (signed A. BERONER)

This elegant and large antique tapestry was woven in Aubusson, France, circa 1760, and features a beautifully balanced pastoral composition typical of the famed ateliers. Executed in...

Large Framed French Etching of Versailles – Le Bassin d’Encelade Pair of Versailles themed prints available. From Mis en Demeure, Paris.

Each panel : Each panel = Height : 206 cm (81,1 in.) ; Width : 56 cm (22 in.) ; Depth : 4 cm (1,5 in.) Beautiful set of four tapestries representing children’s pastorals, woven by the Beauvais Manufacture on cardboards by F. Boucher, inspired by his serie of paintings delivered around 1751 to the marquise de Pompadour for her Château de Crécy...

This fine & rare gilt-wood Louis XVI bracket, in the form of a console table.

A fine half length portrait of a powder wigged 18th century French aristocratic gentleman simply dressed in a brown waistcoat over an embroidered buttoned vest in which he has placed...

The three kings miniature painting. Antique Louis XV period painting of the three wise men who paid homage to the King. The three kings on card paper i...

French 19th Century Louis XVI Style Giltwood Barometer and Thermometer. It features ornate carvings, including a classical bust in a medallion at the top with a beautiful ribbon mot...

Portrait of Françoise-Renée de Carbonnel de Canisy, Marquise d'Antin, painted on Limoges porcelain and presented in a charming small Louis XVI style bronze frame. Excellent condition...

" Carved, lacquered and gilded 18th century woodwork " Carved, lacquered and gilded wood door paneling in the Louis XVI style, 18th century. Contact us before ordering to confirm p...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

French Louis XVI (18th century) oil painting of a scene with a dog and a young lady enticing a young sleeping man with a feather in a gilt carved swag and scroll frame with an eagle ...

Antique hand - painted depiction of a Woman .. ca. late 19th cent. European Tempera painting on plate under original Glass plate in original wooden frame. The painting is signed. S...

A Fantastic Pair of 19th C. French Gilt Bronze Roman Solider Plaques of gladiators with Faux Marble Boarders. Each frame is beautifully hand-carved and the bronze medallions are in ...

Magnificent tapestrie wool and silk, hand woven, very good condition, good Dimension for high end decoration.

Little friezes in gilded wood. They used to be thicker, same front and back, but someone made them thinner: he cuts them in half to obtain two. They were probably parts of a spark ar...