Continental US - Decorative Art

A true embodiment of the Artist's style of combining different mediums, this wall sculpture echoes a festive moment in time, Drawing inspiration from the Artist's moroccan roots. This sculpture is an hommage to the talented women weavers of Morocco that the artist got to meet on her last weaving in retreat in Marrakech. Handwoven with raffia and jute. The ceramic face...

Introducing our exquisite Suzani Hand Embroidered 100% Silk Wall Hanging, a captivating piece that seamlessly blends artistry and functionality. This stunning decor item doubles as b...

Incredible textile wall hanging sculpture by Michigan fiber artist Carolyn Vosburg Hall Multi dimensional constructionist piece in colorful textile wrapped shapes with black and whi...

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...

A fine Franco-German 19th century oil on canvas "Portrait of a Lady" depicting an 18th century young beauty posing with a profile gaze and cur...

French Majolica Wall Fish Vallauris, Circa 1970.

Large Mid-Century Tulip Platter signed Robert Picault Vallauris. Diameter / 11.4 inches.

A very unusual and intriguing rare set of six 19th century Chinese gouaches depicting scenes of corporal punishment, and in one, execution. Painted...

French Majolica Flowers Wall Pocket Longchamp, circa 1880.

19th century Italian "Mary with Jesus" painting and framed with amber. The painting original came from Tuscany and depicts Mary sitting with another young child and looking lovingly ...

19th Century French Porcelain Flowers Bunch Plate. 9.8 inches diameter.

Nice surrealist image of this ceramic tile after Salvador Dali art work , and made in his own country Spain .title Les Guitares.

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...

A French blue, green abstract portrait of books, oil on wood in canvas by Daniel Clesse, painted in France, signed and dated in 1964. Measures: Without the frame: 18" H x 21.5" W x ...

19th century Majolica bird & bee plate Wasmuel.

An early 20th Century Persian Kashan rug Measures: 1'3'' x 2'6''.  

A single, antique Portuguese Baroque architectural wall fragment or sconce made of hand carved partly gilded Pinewood, in good condition. Authentic and naturally aged patina. Minor f...

Early 19th century blue and white transferware plate with castle, bridge with a flower border signed Clews Staffordshire. Mark 1818-1834. 9.5 inches diameter.  

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

This early 20th-century Flemish low-relief panel showcases the exquisite artistry of pyrography, a technique where designs are burned into wood using a heated tool. Here, two hunting spaniels adorned with studded collars and leashes are meticulously rendered, their lively expressions captured with remarkable detail. Surrounding them is an intricately carved Art Nouveau style frame, adding an extra layer of elegance to the composition. During the latter part of the 19th and early 20th centuries, pyrography experienced a surge in popularity, particularly in Europe and America. Its appeal lay in the ability to create intricate designs with depth and texture, resembling fine etchings or engravings. Pyrography was often employed to decorate furniture, household items, and decorative panels like this one, serving as both functional art and a testament to the skill of the craftsman. Today, pieces like this Flemish panel...

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

Wooden produce sign found in England, circa 1920s. Wood foundation is covered in strips of canvas which have been hand painted by unknown artist.

19th Century Majolica bird & bee plate Wasmuel.

An antique pair of Portuguese Baroque hand carved Pinewood architectural wall reliefs with richly ornate detailed scrolls, Acanthus leaves and masks, in good condition. Original pain...

19th Century French Majolica strawberries plate Luneville. Rare plate. 7.3 inches diameter.

JOSEF ALBERS (1888 – 1976) "Formulation : Articulation" Portfolio II, Folder 30 Screen-printed geometric composition printed by Ives Stillman, Inc., New Haven, CT. From the set of 12...

French Majolica plate Onnaing Circa 1890. flowers and blackberries.

Inspired by an antique Chinese silk panel, this design features exotic birds and cherry blossoms and is true to the original scale. Available as a printed linen and a wallcovering. ...

Italian 19th century oil on canvas titled "The Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and umbrel...

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

19th century English oyster plate with flowers Adderley ware.

Early Giovanni Battista Piranesi Castel Sant'Angelo Veduti Di Roma Wall Decor . Large 18th Century Etching / Engraving Of The Ruins Of Rome An Early Print Of Castle Saint Angelo By G...

An early 20th century Antique Persian Senneh Rug Details rug no. 9931 size 3'6" x 4' 10" Antique Senneh rugs are one of the most distinctive of all Persian rugs, even though the d...

Early 19th century Italian carved wood gold gilded Eagle. Its wings spread and clutching a set of white gold gilded lightning bolt arrows in its talons.  

circa 1920 warm colored Antique Persian Senneh Rug Details rug no. j3358 size 4' 4" x 6' 8" (132 x 203 cm) Antique Senneh rugs are one of the most distinctive of all Persian rugs,...

“Blue No5” 3D sculpture / wall hanging decor in the style of Josef Albers “Homage to Square”.

A graphic Parisian antique black millinery aigrette professionally framed. These wonderful works of art are made exclusively by Leah Chalfen of LAFF. Photos 1, 2 and 3 are true representation of these jet black antique feathers...

A stunning work of pressed copper, this substantial piece depicts a hunting scene from the late-19th century. If we could title the piece, we would call it "Bulging" after the magnif...

French orange Majolica oyster plate signed Proceram, circa 1950.

Wedgwood Porcelain plaques of ships The Great Republic and The Dashing Wave 1976-1981 The pair of Wedgwood porcelain painted plaques eac...

This ornate, antique paper hand fan was crafted in France, circa 1850. the one side showing a candlelit interior where Gallant scene on the reverse with a box but no glass of box. Se...

Large rustic French decorative clock face featuring a painted tole face with Roman numerals. This is a decorative non-working clock face only and does n...

Artist/ School: French, 20th century, signed Subject Côte d’Azur village of Cagnes. Professionally framed.

Great quality and colorful French artists made limited edition wallpaper panels. These panels are printed on recycled French paper then hand glazed and crumpled to give a dramatic antiqued appearance.

French green Majolica oyster plate signed Proceram, circa 1950.

Majolica Shell Dish Keller & Guerin Saint Clement Circa 1900. Decorated with a flower.  

Silver-framed Mary and Eddie by Ms. Robin Morris, is an original 172/350 limited edition lithograph printed using hand lithography techniques on archival Coventry Rag 100% acid free ...

Rare pink Majolica grape plate signed Villeroy & Boch, circa 1880.

Majolica hazelnut plate signed Sarreguemines Majolica, circa 1870. Geometric pattern on the border.

Cool period 1980's dramatic macrame art wall hanging tryptic signed Tate 1985. Each piece features seven repeating wrapped cylinders, with hair like wool tops and bottoms. Al three ...

Sotheby's Art At Auction 1999 - 2000, Edited by Emma Lawson. 'sPublished by Sotheby's Parke Bernet Publications, London, 2000. 1st Ed hardcover with dust jacket. This annual referenc...

Collection of 12 early Black Forest roe mounts very nicely carved and great color and patination. Priced per mount.

Handmade Vintage from the 1960s Materials: wool, cotton Sustainable, upcycled Turkish rug Christmas stocking made from hand-woven rug fragments. Width: 13 inches Height: 17 inches ...

19th century French cherub wallpaper panels. In this collection, Irish, English and French wallpaper have been applied to a frame decorated with 18th and 19th-century Irish reproduction moldings taken from original castings. They have been coordinated gold leafed and painted to assimilate the specific wallpaper pattern. These pieces are representations of how the great rooms in Europe were decorated in the 18th and 19th century. Interi transforms European artifacts...

A dark-blue, vintage Mid-Century Modern French abstract oil on wood painting of a color field, painted by Daniel Clesse in good condition. Signed on the lower right. Wear consistent ...

Antique Chinese Art deco rug, Room size, circa 1920 A one-of-a-kind antique Chinese Art deco oriental carpet, hand-knotted with medium thi...

French oval Majolica ducklings and kingfisher platter signed Sarreguemines, circa 1890.

French green Majolica deers plate signed Sarreguemines, circa 1920.

A French carved and painted wooden panel from the 19th century, with musical instruments. Created in France during the 19th century, this architectural panel features a grey painted textured ground adorned with a carved Allegory of the Liberal Arts symbolized by various musical instruments, set inside a molded frame topped with scrolling foliage. Boasting a nicely weathered patina, this 19th century French carved wooden panel...

French 19th Century Barbizon Painting “Sheep in Blizzard” signed Gustave Courbet. Beautiful and moody painting in oil on wood board. It is signed in...