Continental US - Decorative Art

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...

Vintage large oval ceramic wall plaque or tile features Modernist abstract decor with branches of orange fruits and green and yellow leaves displayed on blue-green background. The o...

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...

French Majolica plate with a geometrical pattern circa 1890.

A pair of English neoclassical style carved pine overdoors with swag motifs and dentil molding from the mid 19th century. Each of this pair of English architectural elements features...

Sexy, large and impressive 1980s wall art attributed to Curtis Jere and made of brass, chrome and black metal sheets - as if bound together like a bow ...

19th French Green Majolica leaves plate signed Gien. Measures: 7.5" inches diameter.

Circa 19th century cast iron medallion / wall plaque depicting a portrait of King Charles IV of Spain and his family. The group portrait shows King Charles IV, Queen Maria Luisa of P...

Large French Majolica Fish Platter Fives Lille Circa 1900. 15 by 6.3 inches.

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...

Majolica grape plate signed Villeroy Boch Circa 1890.

Small Majolica pink wild rose wall pocket signed Delphin Massier, circa 1880

Large French Mid-Century Blue Flower Platter signed Charolles. 11.3 inches diameter.

John Haanstra (Dutch, b. 1940), signed and dated 1985 on lower right. A charming oil painting, showing a winter landscape. Skaters are enjoying seasonal fun on a frozen canal while others go about their daily activities. A typical Dutch windmill can be seen in the background. Typical Dutch style housing can be seen in the foreground. The sky seems to be laden with more snow, creating the sense of more winter fun...

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...

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

Framed and PressedEarly 20th century "Herbier" Botanical Specimens 19" H x 13" W each.  Sold as set of 4. Herbier specimens were collected and pressed from plants found around the w...

Mid-20th Century Signed painting of a lighthouse in a harbor. Colorful, happy composition of colors. Signed Vera Bettinger? Solid wooden frame. This item can parcel ship domestically...

French Majolica starfish oyster plate signed Digoin Sarreguemines, Circa 1920.

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Jean Antoine Watteau (1684-1721) circle of. 18th century old master painting, France. With great pride we offer an extremely rare masterpiece from the 18th century, France. This painting is unsigned as most of his works. It has no provenance, but carries with it all the earmarks of the great Rococo style school of Watteau. It pictures one of his famous outdoor parties with a group of frolicking young people. In the background is a reference to a swing, a favored subject in his paintings. The composition of the painting, colors, brushstrokes (especially in the fabric) is clearly Watteau’s studio. This large 18th century canvas...

French Majolica pink daisy plate Orchies, circa 1890.

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...

A finely crafted antique Italian Pietra Dura mosaic in the style of Richard Blow featuring an intricately designed butterfly in a beautiful gilded frame.

Vintage Piero Fornasetti Gold Adam Porcelain Plates, 1970s. A complete set of twelve vintage painted gold ground transfer-printed porcelain plates in black and white...

French Majolica fish platter Vallauris Circa 1950.

A large decorative American abstract giclee print, Hollywood Regency style. This very colorful artwork will enhance any contemporary space. Makes a gr...

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

French green Majolica oyster plate signed Proceram, circa 1950.

French green Majolica leaves plate signed Montereau, circa 1890.

An antique pair of Grand Tour intaglios in wooden frames with a total a 72 medallions. Wear consistent with age and use. circa 19th century, Italy.

French Majolica oyster plate signed Hippolyte Boulenger Choisy-le-Roi. The six pink wells are surrounded by green seaweeds.

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...

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

Middle Eastern Islamic Vintage round brass tray.The handcrafted circular brass platter is decorated and hammered with Islamic Moorish designs.Heavy met...

19th Century English oyster plate with flowers Adderley ware.

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 ...

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

Wall Sculpture #758 by Karen Gayle Tinney Four panel wall sculpture. Hand formed ceramic pieces in unglazed white stoneware with white cotton fringe in two thicknesses. Hanging wire...

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.

Rare 19th Century Majolica Oyster Fish Heads Plate Wedgwood.

Oval Majolica Platter bowl with tomato Sarreguemines, circa 1930.

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 ...

Elegant blue and white oyster plate signed Bordeaux Vieillard, circa 1890. Six wells surrounded by blue seaweeds of different kinds.

19th Century English oyster plate with flowers Adderley ware.

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

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)  

Small German Majolica Apples Plate Circa 1900.

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

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...

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

Made by DMC in the 70's, this is a vividly colored wool woven tapestry framed in a brass finish aluminum frame SIGNED Bernard Buffet 1971 to top. NOTE: THIS ITEM IS LOCATED AND WI...

Probably Nez Perce [Plateau] with fully beaded front with flowers and leaves. In a wood frame box with glass cover. From the estate of Bartlett Burnap.

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

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. ...

Lovely Majolica pink & purple cyclamens flowers plate signed Schultz Cilli, circa 1900, Art Nouveau.

From Japan, a large hand-painted Nippon porcelain cabinet or wall plate showing roses and gilded accents, circa 1900. Nippon porcelain was made in Japan from 1891 to 1921. Nippon is...

French aqua Majolica wild rose plate Sarreguemines circa 1890.

Large Majolica Palissy Portuguese Crab Wall Platter, circa 1940. Signed Gaeiras Obidos.

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