Continental US - Decorative Art

Rare 19th Century Pink Majolica Oyster Fish Heads Plate Wedgwood. 11.4 inches diameter.

Pair of antique hand carved walnut bas relief panels / wall plaques, showing Neoclassical female figures, one holding sheaves of wheat and the other ...

Vintage English Hanging Double Sided Metal Pub Sign~~The Sutton Arms~~ Traditional Free House 42" tall x 34" wide x 2.5" deep Popular decorative wall decor in today's home or b...

19th Century Majolica Pear Wall Platter Longchamp. 11.8 inches diameter. The manufacture of Longchamp produced this fruits platters with various fruits in four different sizes. Refer...

A gorgeous vintage Neoclassical style wall plate from Mont Saint Michel featuring stylized dolphins, birds, swags, and a center crest France, Circa 1960s Measures: 10"W x .75"D x 1...

After Marc Chagall "Bouquet De Fleurs" Lithograph in an elegant gilt gold frame underglass, 1970s. Unframed: Height: 28 in. Width: 23.24 in.

A small vintage French coat of arms or shield, featuring a trio of lions at the top left and bottom right representing England, in good condition. ...

19th Century French faience plate with flowers Moustiers style.  

Rare 19th century English yellow Majolica oyster plate, maybe Copeland.

19th century Majolica Apples plate signed Choisy Le Roi. Made for Higgins & Setter New York. The Higgins & Seiter Company of New York City began selling decorations for the table, in...

A silk collar from China dated to late Qing Dynasty circa 19th century. Known as Yunjian (Cloud Shoulder or Cloud Collar), this two-tiered, five-lobed textile piece was a detachable collar worn around the shoulders as part of the traditional Chinese garment...

A wonderful example of Chinese embroidery, this framed silk textile uses the infamous forbidden stitch to depict a fine blue-and-white porcelain vase....

Playful and whimsical, Capron’s art panels are the most sought after, as editions were small, and in some cases not more than a few, or by special commission. Some are rough and mat...

19th-Century English Green Majolica strawberry & grapes platter.

A round brass serving tray or decorative wall art piece, circa early to mid-20th century. Brass tray is round with a Mughal or Moorish design. Great as a serving tray (as demonstrate...

These oval medallions, sold individually, feature profile portraits of seven Roman Caesars rendered in low relief against a textured background. Each medallion is inscribed with the ...

A pretty oil on canvas by John Lochhead (1868-1921) a listed British artist born in 1868. The style of the painting is classic Victorian with a slightly naughty title on the back label "The Trysting Place". The piece depicts a well-dressed young woman seated on a bench in a charming bucolic garden setting with grazing sheep on a riverbank. The frame is a fine example of elaborate late 19th century carved giltwood with the label of a well-known carver and gilder...

American three panel hand painted leather screen with floral urns on squared plinths & figural statue motif. Late 19th Century . Signed by ...

A rare gemstone artwork in the art nouveau style modeled after Alphonse Mucha's "Spring". The painting was done on the back of glass and applied with quartz to create the iridescent background. The Goddess finely painted, delicately inlaid with natural gemstones. She wears a long mermaid...

A 3rd quarter of the 20th century Persian Tabriz Rug with Moses holding the 10 commandments on a green background Details rug no. 8747 size 1' 10" x 2' 4" (56 x 71 cm)  

Rare French Majolica Pink Platter with poppies circa 1890.

French Majolica flowers plate Orchies Circa 1900.

French Majolica cicada wall pocket from Provence. Height / 5.5 inches.

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

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Elevate your space with this exquisite pair of vintage Gracie-style paper panels, beautifully framed in sleek black lacquer. These chinoiserie-inspired artworks feature intricate han...

Maurice Max-Ingrand (French, 1908-1969) Angel Playing Harp Stained Glass Panel, on red ground with stars, signed and marked "Made in France" upper left. 30" H x 22.5" W. Provenance:...

French Majolica fish platter Vallauris Circa 1950.

Sheep Tapestry designed by Studio Ahead. The tapestry is made of custom cream merino wool felt from Northern California sheep. The fluid shapes are inspired by the smooth lines of stones and pieces of driftwood found on Muir Beach...

French Faience Blue & White Fish Platter Henriot Quimper, Circa 1930.

Otto Pilny (Swiss, 1866-1936) A very fine orientalist oil on canvas "The Slave Market", depicting a desert scene with the offering of two female slaves. Signed and Dated (l/r): Otto Pilny, 1910. Canvas height: 31 1/2 inches (80 cm). Canvas width: 47 1/4 inches (120 cm). Frame height: 37 inches (94 cm). Frame width: 52 inches (132.1 cm). Previously offered at Christie's New York, 19th Century European Art, Sale 2521 on October 12, 2011, Lot 84. Latest Otto Pilny Sale: Christie's London - The Orientalist Sale including Works from the Najd Collection on 30 March 2021 - Lot 49 "Dance in the Desert" was sold for £100,800 ($138,500) There is not that much information about Otto Pilny who began his artistic education in Prague. Pilny also lived in Vienna and ended up settling in Zurich. Just like Ludwig Deutsch (1855-1935), Rudolf Ernst (1854-1932), and Carl Leopold Müller (1834-1892), Pilny was encouraged to travel abroad. During his two trips to Egypt, a favorite destination of the Austro-Hungarian school, the first one in 1889 and later en 1892, he acquired the taste of painting Orientalist scenes of Middle Eastern landscapes...

Unique portrait mosaic. Titled "The Athlete", dated 2019 and signed. The mosaic is constructed out of natural stone in the most gorgeous tones. No damage to be noted.

Wall Sculpture #765 by Karen Gayle Tinney Six panel wall sculpture. Hand formed ceramic pieces in unglazed beige stoneware with white, tan, and gray cotton fringe. Hanging wires are...

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...

Needlepoint Wood Framed Artwork of Tulips from Chelsea Textiles One-of-a-kind needlepoint artwork from Chelsea Textiles. This framed artwork features tulips in rust, orange, yellow and green colors. This classic piece of art would make a suitable piece to add to a bookshelf or wonderful displayed as part of a wall gallery art collection.

French Faience rustic oyster plate Moustiers style, circa 1940. Painting of birds and flowers.

Capture the essence of coastal living with our Vintage Majolica Lobster Plate. Inspired by the rich maritime heritage of America's shores, this plate features intricate detailing and...

Vintage 1968 issue of Avant-Garde magazine with a superb, highly frame able cover illustration by American pop art icon, Tom Wesselmann. Celebrated within this issue is the artists w...

A finely embroidered silk civil rank badge panel presented with elaborate lattice mat and a wood frame circa mid to late 19th century (late Qing dynasty). The square rank badge is kn...

French Majolica pink daisy plate Orchies, circa 1890.

Majolica reticulated lilac plate signed Villeroy & Boch, circa 1890.

French green Majolica leaves plate signed Montereau, circa 1890.

19th Century Majolica chocolate oyster plate with green seaweeds Luneville. Reference: Page 43 "Oyster plates" of J. Karsnitz.

A fine, professionally framed original Japanese woodblock print attributed to the master Utagawa Kunisada (1786 – 1865), also known as Utagaw...

19th century large blue and white French transferware platter signed Utzschneider & Cie (Sarreguemines) Model Helvetia. Scene with fisherman, cow...

For your consideration, a vintage modern last supper in the manner of Emaus or Talleres Nomasticos. Constructed with mahogany and silver plated metal with abalone. Backboard painted ...

An extra long red paint decorated wood sled with black painted rails with seating for four. No visible marks. Attributed to Fexible Flyer, circa 1930's probably by S.L. Allen Co. of ...

Evelyn Ackerman Carved Redwood Panel for Panelcarve, circa 1950s. Features a bird, ram and frog in typical Ackerman style. Measures 36" wide, 12" high and 1" deep. Stamped "copyrig...

Green Majolica leaves plate, circa 1890.

An authentic English pub sign (one-sided) featuring a painting of a cricket player with bat and ball, entitled: Worth Brewery - The Cricketer's Arms. A very fine example of vintage ...

Oval Majolica Platter bowl with tomato Sarreguemines, circa 1930.

19th Century Rare Majolica Palissy Fish Basket Platter signed Leon Brard. 7 fishs, mussels ,ears of wheat ,and shell.

Small German Majolica Apples Plate Circa 1900.

French Majolica grapes plate Salins on a light blue background (East of France), circa 1890.

Rare 19th century Majolica oyster plate with pastels colors, shells and seaweeds signed Gien.  

A pink-white, antique French still life oil on canvas painting depicting a working table with a yellow teapot vase with flowers, painted by Eugène Henri ...

Very Rare Colorful 19th Century French Majolica strawberries wall platter signed Longchamp terre de fer. The fruits are in high relief with the leaves and branches. 11.5 inches diame...

French Majolica cornflower and wheat plate Sarreguemines, Circa 1890.

Large French Majolica duck in flight wall pocket Delphin Massier, circa 1890. Height / 11.8 inches. Lenght / 15.5 inches. Depth / 6 inches.

Lovely custom framed 19th century botanical fern engravings from Prof. Dr. Otto Wilhelm Thome's "Flora von Deutschland", published in 1886. Thomé (1840–1925) was a famous German bota...