Manhattan - Wall Decorations

The launch of the newest diptych print titled "Bois de Boulogne" is part of our mission for the preservation and celebration of historical French artistry. Designed in the style of a classic French panorama, known as "Papier Peint," these exquisite prints capture the lush and detailed expanse of the Bois de Boulogne park, a beloved Parisian landscape. Each panel is a meticulous amalgamation of past and present art techniques, featuring elaborate woodland scenes that blend seamlessly across the two sections. The archival quality and limited edition of the prints ensure that the gorgeous tones and intricate details are preserved, offering an enduring glimpse into France's artistic heritage. This release not only pays homage to traditional French scenic...

Acrylic on canvas Eric is a French painter based in Paris and in Southern France Languedoc region. His inspiration comes from his connection with nature and his passion for wild life...

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

Our wallpaper panels are gorgeous enough to frame—and we’ve done all the work for you. Resized to capture the most alluring portions of the original design by Miles Redd, this art panel pairs...

An Important and Large Walasse Ting Chinese Acrylics on Paper 'Two Geishas and Parrots' Painting. This painting is by Walasse Ting (1929–2010), a Chinese-American artist known for h...

Pair of unique Impressionist paintings "Redemption" in patinated and engraved bronze and pewter with enamel cloisonne by Philip & Kelvin LaVerne, American 1960s (signed twice on on...

"Peasants Plaque" in patinated and engraved bronze and pewter with hand enamel cloisonne by Philip & Kelvin LaVerne, American 1960's (signed front bottom center "Kelvin + Philip LaVe...

French landscape tapestry probably Beauvais, circa 1750. Although not a product of the Royal Gobelins factory in Paris, this pictorial landscape tapestry is extremely Fine with silk highlights. The French royal tapestry works in the Gobelins made masterpieces for the crown. For the nobility and bourgeoisie, Beauvais was the source for attractive wall hangings in all sizes, degrees of fineness and subject matters. Rural scenes particularly appealed to urban collectors. Here two white geese cavort under a sandy bluff. The hillock is framed on each side by trees, one a blasted trunk, and topped by a picturesque rustic windmill. Realistically depicted flowers, overhanging grasses and luxuriant foliage give a summer air to the image. In addition, a startled bird, flies up to the right. The border is a trompe l’oeil gilt picture frame with corner bosses and low relief “carving”. The weave is quite Fine and is executed in wool with copious silk details. Although Jean Pillement...

A fine Neil Welliver aquatint on embossed Rives BFK paper, pencil signed, titled and numbered 32/500 in the lower margin. Professional framing in a natural wood frame and matting in ...

Antique Persian Heriz Oriental Rug, Room size An antique Persian Heriz oriental rug, Size 11'9 x 9'8, circa 1920. This handsome hand-woven geometric rug features a central medallion on the coral field. The central field is enclosed within an outer border in navy tones with repeating geometric abstracts. The short wool pile is even throughout, and the rug is in excellent condition for its age and weaving style. A great value, and an excellent choice for an entry way, a foyer, a living space, a bedroom, or for use as wall decor or as a decorative accent! Bring this beautiful rug...

Architectural glass, handpicked by Ann-Morris buyers.

A turn of the century wooden panels, depicting architectural marble carvings with their description in Italian. Probably from an architecture school. Measurements: Height 89", W...

Nerone & Patuzzi sculptural wooden wall panel for NP2, mahogany, Italy, 1973. This untitled sculpture panel, created around 1970, features linear, curved, concentric, and triangular...

Late 19th Century Chinese Silk Embroidery ( 5'10" x 9' - 177 x 274 )

Antique Mohajeran Sarouk Oriental Rug, circa 1910, Large size An antique Mohajeran Sarouk oriental rug, size 17'0" x 11'0", circa 1910. This lovely hand-knotted wool rug features an...

A late 19th century French Chivalric tapestry, size 2'5"H x 4'0"W. The scene envisioned in the central area is of a gothic chivalric scene, with a pair of chivalrous gentlemen and a ...

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...

Coral Color Artistic Antique 19th Century Indian Metallic and Silk Textile, From: India, Made In: 19th Century

Soft Neutral Vintage Artistic Hans Krondahl Flower Tapestry by Hans Krondahl, country of origin: America, Circa date: Vintage

Large incredible book in very good condition documenting and referencing incredible dining sets, bedroom sets and living room sets and furniture pieces from masters such as Royere, A...

Photograph Signed

ORIGINAL VINTAGE PHOTOGRAPH SIGNED BY CHARLES LINDBERGH.

Photograph of a young Lindbergh sitting at h...

A French Aubusson tapestry from the late 19th century, depicting a man playing music for a woman in a verdant setting. Enclosed within an elegant scr...

An Incredible and Quite Rare 19th Century KPM Porcelain Plaque after Gerrit Dou (Student of Rembrandt, Titled "The Schoolmaster" c. 1671. The porcelain plaque is incredible with the...

Hand-picked by buyers at Ann-Morris Inc.

Wall unit with adjustable shelving system, cabinet, chest and flip top desk in rosewood, teak and mahogany by I.S.A., Italian 1964 (label on...

Antique Persian N.W Persia rug 4'10" H x 3'0" W, in small rug size, circa 1920. This Fine floral wool rug features a repeating small-scale floral design throughout, iterated both in ...

Oil on canvas, signed in the lower right. Measures 176" x 18.5" including the frame and 8" x 10.5" sight. Francois Gall 1912-1987 French Well listed artist in the Benezit. ...

An original work by the artist from 1983 Title: " Wild West #2" Signed and Dated by the artist It comes with COA and has great Provenance.

Matched pair of bas-relief plaques in the neoclassical style crafted from molded plaster with terracotta patina, depicting a goddes among the clouds, surrounded by angels in flight.

Through the use of very long exposures taken with a telescope, Malin reveals stars and constellations too distant to be seen with the naked eye. The Witch’s Head nebula, the subject of this edition’s specially commissioned print, is 800 light years away from Earth in the constellation of Orion. As the colloquial name suggests, this heavenly duststorm has the pointed nose and crooked chin of a fairytale crone. In reality the nebula is quite blue, glowing in light reflected from the super-giant star, Rigel. The dusty formation of the witch’s silhouette is contrasted starkly with the glittering lights of the sky, in an ethereal composition that showcases the most wonderful collaboration between man and nature. Each limited edition silver gelatin print is simply and elegantly produced and illustrates the breathtaking beauty of this phenomenon. Aside from its scientific importance, the work speaks for itself as one of the most spectacular sights ever caught on film. Combining the worlds of art and science, David Malin...

Original oil on board "Decouverte" with abstract figural motif by Jacques Fabert. Originally part of an exhibition in San Francisco 1962. Signed and labeled on verso as well as a lab...

Early 20th Century S. Persian Double Saddle-Bag Carpet ( 2'4" x 4'9" - 72 x 145 )

Vintage Persian Kerman oriental carpet, size 12'0" H x 8'10" W, circa 1940. This vintage hand-knotted Persian rug features a stri...

Complete set of seven prints commissioned by the Plastics Division of chemical giant ICI in 1971 as a promotional endeavor to show the potential of stamping foils in graphic design. ...

Beautiful Cottagecore Style antique 19th Century custom framed pair of Pomological William Henry Prestele Jeffries Apple, Kelsey and Satsuma Peaches prints 1887 and 1888 Fine, custom...

A large and graphically stunning asafo flag. Fante flags represent the merger of two cultural traditions, the Akan tradition of combining proverbs with ...

Ancient hand carved architectural panel from Toraja. The carving symbolizes both the protection of the home and courage. Originally used as...

"Dance Around the Pool of Life" is a tapestry composed of five separate parts by Amsterdam-based Swedish artist Alfhild Külper in a pixelated combination of chocolate brown, peach, ...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Shigeru Uchida floating aluminum wall cabinets with sliding doors. Pastoe, Netherlands. Four available, priced separately. Measurements: 35.5” width, 7.25” depth, 10.5” height (each)

A pair of sculptural stainless steel coatracks with a distinctive 70's flair.

Very rare 18th century micromosaic depicting a goldfinch bird. Measurements: Without frame approximately 5.5 in x 6.5 inches With frame approximately 8.44 x 9.63 inches.

Oil painting by Jules René Hervé, signed lower left. Measures 14.5" x 16" including the frame. Jules René Hervé was an Academic French painter, bo...

An antique French Aubusson needlepoint tapestry from the 19th century, featuring an oval pendant at center, which envisions an idyllic landscape. The pendant medallion is surrounded by floral garlands and ribbon ties, with soft color tones in the background. Enclosed within a monochrome outer guard border. Handwoven. Wool with silk inlay. Flat-weave with no upward pile. Excellent condition. A great option to add color, warmth, and dimension to your walls, as this is a wonderful antique wall covering...

Kenny Scharf, Tony Shafrazi Gallery, New York, 1983 Rare early exhibition catalog from a limited edition of 2000. 5 x 8 inches unsigned. Minor signs of handling; otherwise excellent...

Kiko Lopez is one of the few artisans working today in the traditional craft of églomisé. With this beautiful well of glass, which changes dramatically from whichever perspective one...

Hand-picked by buyers at Ann-Morris Inc.

Pair Neoclassical Gilt and Ebonized Wall Brackets

An Angelo Brotto wall sculpture for Esperia. Featuring a backlit glass Murano glass detail. Crafted in Steel and brass signed by the artist.

Framed antique hand-coloured map of the Republic of Genoa including the duchies of Mantua, Modena, and Parma. Europe, late 18th century. Dimension: 25...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Striking “pelangi” tie-dyed textile from Toraja Land, South Sulawesi. We added a linen border, double backed on both ends. This beautiful panel can be used as a wall hanging, draped ...

Brussels Circa 1750-Probably woven by Francois Van Der Borcht 1720-1765-Tenier's Style-A placid harbor with a perspectival weighted fortified city scape to left and a stone quay in t...

Midcentury tapestry designed by Rene Perrot 91912-1979) and woven at Atelier Riviere des Borderies in Aubusson, France. Handwoven in wool, it dates to 1946...

Nerone & Patuzzi sculptural wooden wall panel for NP2, mahogany, Italy, 1973. This untitled sculpture panel, created by Nerone & Patuzzi around 1970, is a unique piece crafted from ...

Claude Venard, French painter (1913-1999).Colorful abstract cubist oil on Canvas "Nature Morte Aux Fruits ". Signed "C. Venard", label to the back May 9, 1989, lot 60 Provenance: Collection of Litsa Tsitsera, New York;, Christie's East, NY, May 9, 1989, lot 60, "Modern and Contemporary Paintings...

A set of 4 black-and-white engravings from the book La Cuisine Classique by chefs Émile Bernard and Urbain Dubois. Published in the 19th Century, the illust...

A French Aubusson tapestry from the late 19th century, featuring a rustic scene with a young man reposing on a bundle of hay while his damsel and her dog look on. Enclosed with a tro...

Pair of antique (late 19th century) neoclassical patinated bronze bas relief plaques, attributed to Christofle, allegorical of winter and autumn. Winter shown with three cherubs aro...

Keith Haring 'Debbie Dick' Vintage 1988 Keith Haring Safe Sex promotional item: Offset printed sticker featuring a Classic Keith Haring imag...