Continental US - Decorative Art

Vintage Chinese 34” large red silk handmade macrame longevity symbol with tassels. Great Wall decor piece.

A gold, large antique French Louis XVI period barometer, signed by Torricelli in gilded wood and of oval shape with original scientific illustrations, in good condition. The detailed wall décor piece is consisting its original glass. Framed with gilt foliate trim and important pediment. Minor fading, due to age. Wear consistent with age and use, circa 1750, France. The Italian scientist Evangelista Torricelli...

Large, vibrant French Provincial hand painted faience wall decoration in the shape of a cover, rocaille et décor à la corne pattern. A double cornucopia filled with flowers, flying i...

Emiel Hansen (Denmark) figures on a cloudy day original oil painting circa 1930 Brilliant 1930s original oil painting by listed artist Emiel Hansen. ...

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

18th Dutch century tile painting of a cat with holding a mouse in it's mouth. Depicted right after the catch, with paw lifted showing exposed claws. The yellow and manganese striped ...

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...

Stunning pair of distressed antique Chinese hand painted wooden panels having red backgrounds and figural decoration of warriors on horseback in black, white and green.

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

Large French Faience Platter Circa 1950.

Large Majolica Pink Daisy Wall Pocket signed Clement Massier, circa 1890. 8.7' height

Majolica plate with a pheasant in the woods signed Hippolyte Boulenger Choisy le Roi, circa 1890. The manufacture of Choisy le Roi was one of the most important manufacture at the en...

Large French Majolica Pair of Apples & Pears Platters Orchies Circa 1930. 12.5 inches diameter.

English Majolica Strawberry & Grapes Plate Wedgwood Circa 1930. White and gold. 8.8 inches.

Oval Majolica Platter bowl with tomato Sarreguemines, circa 1930.

Large French Majolica oyster plate signed TN Bavent, circa 1920. Diameter / 10.5 inches. Rustic style.

Group of six hand-colored engravings of monkeys by Jean-Baptiste Audebert (1759-1800), from his 'Histoire naturelle des singes', which included 62 images drawn and engraved by himsel...

Chains echo different emotions in us, some see them as a symbol of imprisonment, and vulnerability and some see as an emotion of inter connectivity and strong bond between the people...

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

Large French Faience Poppies Platter signed MG Circa 1882. 13.8 inches diameter.   

Louis Vuitton Print from Paris, France framed in a vintage wooden black painted frame. The artwork features the iconic Louis Vuitton suitcases artistically stacked. Similar piece can...

A vintage Mid-Century ivory color silk brocade collectable Japanese ceremonial kimono. One of a kind hand crafted. Fabulous museum quality ceremonial piece in pure silk with intricat...

A wonderful 18th century Nevers polychrome plate featuring a striking hunting trophy. Hand painted in vibrant blue, yellow, green and aubergine with a decorated border on the scallop...

French Limoges Majolica Porcelain Oyster Plate, circa 1890. with shells.

19th Century Majolica flowers and butterfly plate Wasmuel.

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

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...

Large French Mid-Century Pink Flower Platter. 11 inches diameter.

Majolica vine leaves plate signed Sarreguemines, circa 1890.

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.

Small Pair of 19th Century Austrian Majolica Pepper Platter Johann Maresh. 6.3 by 4.3 inches.

Majolica strawberries plate Orchies, circa 1890.

Mid-Century French Majolica Cicada Applique.

19th Century Majolica Strawberries Plate signed Choisy Le Roi. Made for Higgins & Setter New York. The Higgins & Seiter Company of New York City began selling decorations for the tab...

A rarely seen Palissy style Provençal majolica trompe l’oeil wall plaque made and signed by the potter A. Martin, from Vallauris, Cote d’Azur, France, Mid-Century Modern Era, circa ...

W.S. Lacey (British, 19th-20th century) oil on canvas "Tall Ship at Sail" sailing by a lighthouse and next to two steam boats, within an ebonized fra...

Rare 19th Century Victorian Majolica Plate Biarritz George Jones. Souvenir plate of Biarritz. On the center a man wearing a black beret carrying a girl in the ocean. On the border , ...

A fine decorative color lithograph in the Art Deco style. Signed and Numbered by the artist, Roberto Tortoli (Italian). Presented in a custom Hol...

This charming wallcovering panel is a whimsical tapestry of intricate vines and flowers rendered in folkloric patterns. Panel Width: 50" Overall Dimensions: 50" W x 144" H Samples...

French, 18th century Verdure Aubusson tapestry handwoven in wool with silk highlights framed with a complete floral border. Two birds wade ...

Original oil on canvas, tonal-style landscape painting by listed, deceased, famous artist, William Keith (1838-1911). Painting features a group of majestic trees near a pond of water...

Bronze statue of young goatherder by Oscar Gladenbeck. Circa 1900. Signed "Oscar Gladenbeck Friedrichshagen".

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

French Majolica bird with grapes aqua plate signed Sarreguemines, circa 1880.

Majolica grape plate Villeroy & Boch, circa 1890.

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

a late 20th-century mini square Turkish kilim Details rug no. j3830 size 2' 5" x 2' 6" (74 x 76 cm)

This sculptural stone mural features three Knightia eocaena, all of which are Eocene Era fossil fish from the Green River Formation. These fossil fish are ...

Majolica butterfly plate Josef Steidl Znaim, circa 1890.

French Plate bird & butterfly signed L'Hermine Orchies Circa 1900.

Remarkable large 19th Century rectangular meat Platter signed Hippolyte Boulenger Choisy le Roi. Naturalistic painting of a stag ,flowers and vegetation. 19 by 13.8 inches.   

Porcelain creation from the Ink collection, inspired by the age-old custom of drawing messages on the skin. This creation, handmade in glazed porcelain and decorated in black, red an...

A large-scale 19th century French unframed oil on canvas painting of the young Napoleon De Bonaparte. Some restoration.

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

A massive Museum pair of Meiji Period Japanese Cloisonne Enamel chargers plates, attributed to Hayashi Kodenji Studio, 19th century. Each measuring ...

This framed crane barkcloth fabric sample, produced by the Spectrum company around 1949, served as a showcase of mid-century design aesthetics. Displayed in rattan showrooms across t...

French Majolica Joan of Arc Plate Onnaing, circa 1890.

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...

French Majolica bird with holly plate signed Sarreguemines, circa 1880.

Gilt framed 19th century Sèvres bisque plaque depicting cupid and zodiac with cornelian cabochons and gilt bronze mounts. Sèvres bisque rondel medallion ...