Continental US - Decorative Art

A large 7' long wall hanging grouper fish sculpture made of painted fiberglass with glass eye. This is one of two identical fish that had been part of a double sided outdoor Florida...

Large handcrafted decorative Indian Mughal Moorish brass tray. Embossed and hammered with floral and mystique animal scenes with Arabic script etched. Large decorative hanging...

A Minton pottery tile designed by Christopher Dresser in 1873. This tile, designed by Christopher Dresser and made in 1873, exemplifies the Aesthetic Movement ethos of the home as...

Antique Victorian white feather floral mourning wreath mahogany wood shadow box. Item features an ornate white feather flower arrangement, mahogany woo...

A Beautiful Italian grand tour style pietra dura mosaic on marble plaque with gilt framing. Picture is a bird on branch with leaves and flowers.

Antique Victorian White Feather Flower Mourning Wreath Mahogany Shadow Box Frame. Item features and ornate white feather flower arrangement, mahogany s...

Artist Colette Cosentino blurs and blends a twilit sea and sky into abstractions of tonal color for this atmospheric mural, digitally printed in two ...

19th century oil on canvas fruit still life, after David Teniers the Younger or David Teniers II (1610-1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. Beautifully and deftly painted, in original period handmade gold leaf carved frame...

Antique Chinese gilded lacquer plaque inlaid with jade & hardstones on a teak frame, circa 1900's.

An extremely decorative Italian 18th century Giltwood and Fresco wall decor/panel. This highly detailed piece of wall decor is set within a Giltwood frame with a handsome Greek key d...

Marcello Fantoni rare studio wall plaque. Marked: Fantoni, Italy.

Elegant, vintage Italian hand rolled silk scarf by Chanel, circa 1980s. The scarf has never been used, is in excellent condition with a beautiful camellia floral print and retains it...

Printed by G. Gerim Fils, Paris. "Les meilleur desserts fins", for a brand of biscuits. Art Nouveau style and typography. A seated young lady with flowers in her long red hair...

Painting of a tropical coastal scene. Oil on canvas with solid wooden frame.

Inspired by an antique Chinese silk panel, this Mary McDonald design features exotic birds and cherry blossoms. Since Schumacher was founded in 1889, our family-owned company has b...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

A striking framed collection of Antique Beadwork. Antwerp label on verso. Group of individual antique neoclassical embroidered pieces- swags with fruits, bows, a flaming heart with s...

French academic drawing of a classical Roman. This handsome framed French drawing of a classical Roman figure was created by a talented artist ...

Mosaic Inspired Wall Panel Made from Repurposed, distressed metal Tole Elements. Each piece unique in coloration and design. In my organic, contemporary, vintage and mid-century mode...

A Chinese architectural wood temple panel from the 19th century, with floral carvings. This exquisite Qing Dynasty architectural wood temple panel from the 19th century is a testamen...

A beautiful view of a cityscape street scene in Paris, France with the Eiffel Tower in the background. This painting perfectly depicts life in Paris with its restaurants, busy streets, cafes, hotels, monuments, and wonderful architecture. Signed. Caroline Barnett (1877-1950) was an American-born artist who studied in Paris towards the earlier part of her career; she was known for her Impressionist street scenes of Paris. Her painting style reflected the contemporary movement that was occurring in France during her time there. She was a member of the Societe de Beaux-Arts in Paris, where she exhibited her works in 1898. Using both light and shadow with skill and precision, she painted cityscapes showing each season in Paris. Measures: 10 1/2" W x 8 3/8" H x 3/4" D Elevate your space with this lovely Oil Painting Eiffel Tower...

This vintage signed original one of a kind watercolor by Chamberlain and dated 1960 has a real sensuality to it. This has been tastefully and be...

Late 19th or early 20th century garden portrait of a lady painted in the period of Art Nouveau. Stylized palms serve as an elegant backdrop for a seated heiress painted in soft paste...

Beautiful original signed watercolor painting by listed, deceased English painter, Reverend Laurence George Bomford, (1847-1926) titled "Loch Achilty" and dated 1889 is a tranquil wo...

Wenzel Ulrik Tornøe (Danish, 1844-1907) A very fine and large oil on canvas titled "Systue" ("The Sewing Room"). The finely executed artwork depicting the interior of a sewing room w...

Based on a rare 18th-century document and created by one of Europe's premier engravers, this design comes in coordinating panels of fabric and wallpaper with a 12-foot repeat. Pane...

Crafted in France in the 1800s, this high quality gilt bronze wall clock has elements in the style of Louis XVI. The white clock face with blue numbers re...

The Great Wall Panel from the Designed after Frank Lloyd Wright's Ennis House in Pasadena, Custom made from an Original Piece, cast with Hydrocal and Fiberglass

Vintage Delft tile featuring a noble man riding a horse. This characterful Delftware tile a man on horseback in expressive blue coloring on a whit...

Vintage Framed L 'Opera Signed Silk Scarf By Erte A Beautiful Piece of Wall Art to Start or Add to an Already Existing High End Luxurious Collection. L'Opera, depicting two ladies, ...

Beautiful jewelry box by the known American artist Ken Belgian. He worked in Taxco, Mexico in a modern/primitive style craft . This wooden box ...

Beautiful floral painting depicting amber roses and verdigris background. Canvas stretched on a giltwood hand-carved frame. Back affixed with a hanging wire. Perfect for a gallery wa...

Pair of 17th Century Gilt silver framed saints. Silver saints are draped in period clothing and holding a book, against a red fabric background with ...

Each well-executed plaque of impressive scale depicting a moody forest scene and a tranquil lake setting; all within custom ebonized moulded frames with giltwood slips; excellent ant...

French Royal painted silk textile portrait, Marie Thérèse of France, Madame D' Angoulême, Eldest daughter of Louis XVI and Marie Antoinette and o...

Large 1970s Mod Op Art Textile Art Wall Hanging Signed Fabregas '74 Offered for sale is a large 1970s Mod Op Art textile wall hanging created in bold colors in felt. The piece is...

Original 17th century painting attributed to the Circle of Sir Peter Paul Rubens as confirmed by Christies London. This beautiful work of art i...

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...

Rescued from an estate outside of Boston, MA this antique arch top transom window adds an architectural feast to your space. The window has its original...

This is a mid-century European school oil on canvas depicting a Paris street scene. It is signed somewhat illegibly. The framing is vintage and in good condition. Nicely done!

A beautiful, midcentury, large portrait of a lady, circa 1960. Charcoal on paper with a very decorative gold frame.

Exceptional artisan wall sculpture in bronze and copper with hand-painted red enamel by Silas Seandel, American 1970's (signed on back "Silas Seandel"). This is a fine example of Sil...

Unknown Flemish Artist, Belgium 18th century, in the right part of the painting the artist represented a man sitting in front of a tavern. He is surrounded by Delft baroque earthenware pitchers and plates. The right side of the painting shows different types of birds, among them chicken, a swan, ducks and a peacock. The painter was here definitely inspired by the 17th century painter Melchior de...

Shopping for shoes in Paris with the family? Gilt framed antique French Art Deco advertising poster, "La Premiere Marque Du Monde", Chaussu...

Mid-Century tapestry designed by Betty Cilliers-Barnard (1914-2010) and handwoven by Marquerite Stephens in Johannesburg, South Africa. Entitled "African Multiplication" and woven i...

This charming set features framed silhouettes of a young woman and young man from the 19th Century on reversed glass. Wonderful addition to add to an existing collection on a wall or...

Bring a touch of French charm to your home with this beautiful French Faience Quimper Platter. Featuring stunning decorative floral ornaments within and around the plate, this platte...

A beautiful Italian grand Tour Style Pietra Dura mosaic on marble Plaque with gilt framing. Picture is a bird on branch with leaves and flowers.

This piece ships free in the continental United States! Originating in 18th century Japan, shou sugi ban is a particularly striking method of preservi...

A pair of hand-painted linoleum floor tiles with 1950's cowboy and Indian motifs. Measures: Cowboy is 12.5" W x 16.5" H Indian 12.75" W x 11" H.

Mid-century screen print formed of blocks of garnet, sky blue, and carob. The blocks of colors build onto each other against a warm, ivory background. A lined coat on top of the base...

Beautifully matted and custom framed 18th century hand colored plates of adorable dogs. A fetching pair!

A vintage Bessarabian Kilim oriental rug in kaleghi (gallery) size, size 11'0 x 5'6, circa 1930. This handsome handmade flat-woven carpet has no upward pile, and features a stylized ...

A French rectangular carved decorative wall panel from the 19th century. This antique wall ornament from France is rectangular-shaped, and features a large circular medallion within it's center which is adorn with a doubled-arch crest molding, flanked within straight-lines. The lower portion of the panel is embellished with relief-carved flowers and foliate, and inwardly tilted s-scrolls at each far side. The finish is both neutral and warm, consisting of creams, taupe and soft hints of brown. This 19th century French carved wall plaque...

House of Erté Romain de Tirtoff "Willow Tree" Sevenarts Porcelain Collector Plate. The Willow Tree Plate is an original decorative limited edition porcelain plate realized in the 1990s. This beautiful and very rare plate was produced for House Of Ertè in fine porcelain. The plate reproduced the beautiful artwork "Willow Tree" realized by the artist in 1987 and shows one of his famous and sophisticated figures. House of Erté Plates...

A stunning and most impressive set of twelve Italian 19th century Neo-Classical st. Bronze, Alabaster and Black Belgian marble plaques of Roman emperors. Each exceptional plaque is c...

A large Italian 19th-20th century neoclassical and Greco-Roman style architectural Scagliola wall plaque depicting chariots, horses, allegorical maidens and gods, inlaid and painted ...

Antique Indian Agra rug 5'0" H x 2'1" W, in small rug size, circa 1900. This fine floral wool rug features a repeating small-scale floral design throughout, iterated both in the prim...

Large 19th Century English signed Mason's Ironstone Flowers & Vase Plate. 10.2 inches diameter.

Large Moroccan Silk Handmade Tassel Passementerie Curtain Tieback in Olive Green. A beautiful large Moroccan silver metal and silk handmade tassel pa...