Manhattan - Wall Decorations

The MF 710 bookshelf by Geraldo de Barros is stunning & probably the most complete of the systems created by him, despite having only 3 basic components: columns, boxes, and shelves....

Classic French hunting Scene Tapestry 7'1 x 5'5. A 20th century hand woven reproduction of a classic French hunting scene tapestry.

1920s Mat size Persian Senneh floral rug Details rug no. 9923 size 1' 4" x 2' (41 x 61 cm) Antique Senneh rugs are one of the most distinctive of all Persian rugs, even though the ...

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...

Antique Persian Bidjar Rug, Small size, circa 1900. A one-of-a-kind antique Persian Bidjar Oriental Carpet, hand-knotted with soft wool pile. This beautiful rug features a repeati...

1987 modern oil on canvas abstract artwork painting, purchase at a estate in Maine, signed by the artist in vintage original condition with minor wear and patina due to age and use.

Tide by Courtney Kinnare 2025 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 30" These functional art pieces build a color story through multiple layers of transluce...

Introducing "Pétal De Kyoto," a captivating limited release fine art print that promises to inspire art enthusiasts. This piece is meticulously crafted ...

Bernard Cathelin was a French painter known for his uniquely stylized abstractions of flowers, landscapes, and figures. Utilizing thick palette knife applications and rich colors, Ca...

1st Quarter of the 20th-century Tibetan rug with a large-scale dragon motif. The wool is soft, Texture and patina are fabulous. Can also make for a suitable wall hanging. Measure...

Delphinium by Courtney Kinnare 2025 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of tra...

A Gorgeous 19th Century KPM Hand-Painted Porcelain Plaque of a Japonism Beauty, Signed by the Artist Wagner Wien .n C. Kiesel. The beauty is seen in a beautiful orange and white kimono...

A Flemish rustic tapestry from the late 18th century, featuring a “Vegetable Market” scene in the manner of David Teniers II, with vendors selling various vegetables in the foregroun...

Mid 18th century european Tapestry Fragment. Measures: 1'9'' wide x 2'10'' long. Tapestries make integral part of the Flemish cultural heritage. Most of the tapestries have religious, mythological and historical subjects as well as hunting and harvest scenes. They are known for their high quality and extended use of colors. The oldest ones were made in the 13th century. The most important production centers were Doornik and Arras. These two centers got a lot of assignments of the Dukes of Burgundy. In the 14th century tapestries...

"XOXO" - Limited edition blue glass pill sculpture by Edie Nadelhaft. Edition of 9. Signed and numbered on the back by the artist. The piece is equipped with a D-ring on the bac...

Pair of magnificent, large gilt and hand-carved wooden wall brackets in the Baroque/ Rococo style featuring elaborate and elegant foliate scrolls, measuring 22 by 14 1/2 by 10 inche...

1920s Chinese Batou Scatter size Rug Details rug no. j2234 size 3' x 6' 1" (91 x 185 cm)

A colorful formal fine quality connoisseur level Persian Malayer rug. Rugs this quality type can be used as great wall decor as well. Measures: 4'4'' x 5'8''.

Painted by W.V. Bagnall.

History of Psyche 17th Century Parisian Tapestry Wool and Silk 200 x 299 cm, 79 x 118 in Private French Collection

Antique hand carved panel from Toraja. Framed in a minimalist black teak wood shadow box. This carving symbolizes the protection of the home. Great art piece. This antique carving...

Hildreth Meière, an influential American muralist and mosaic artist, left an indelible mark on the art world through her captivating works. One of her remarkable creations is the Rad...

A steel pony horseshoe wall hook, circa early-20th century., USA. A great piece for a barn, kitchen, foyer, mud room, residential or commercial projects...

A vintage framed poster of a Porsche 939 Cabriolet, 1987. This poster wall art piece has protective glass front and a black metal frame. Dated on back July 7, 1987 as shown in last t...

A Flemish historical tapestry from the second half of the 16th century, depicting Tomyris’ victory over Cyrus the Great, with Tomyris, the leader of a ...

A French Aubusson rustic tapestry from the late 19th century, 'Le Jeu de Colin-Maillard', ('The Blind Man’s Buff') after a cartoon by Jean-Baptiste Hue...

The ancient city of Saint Malo in North Western France has long been associated with adventure on the high seas, piracy and exploration. It was the birthplace of several important in...

"Basura En La Ciudad" Acrylic on canvas abstract artwork by Mexican artist Maricruz Hernadez Covarrubias 1947-2016 Painting measurements: width 47'' height 35.25'' "Maricruz H. Cov...

A French rustic hunting tapestry from the 17th century, with a couple catching an elusive boar in the foreground, a cottage in the middle distance at ...

Late 20th Century Persian Kilim with 2 small birds and 2 mini horses Measures: 2'8'' x 3'5'' This was originally belonging to a private Persian collec...

Exhibition poster and announcement for a show of Sister Mary Corita Kent's new serigraphs held at New York City's Morris Gallery from December 7-31, 1966, ...

A 7 foot wide hand tufted and embroidered tapestry. Titled "Dream Entrance" the piece evokes the tapestry of the Northern Renaissance, updating it with soft blues and greens. The wor...

This Large Sculptural Round Convex Rose Gold Lighted Mirror or Wall Art is a unique work of art. A large, round glass is first thermoformed into a sculptural convex form (i.e. the r...

Small square size Persian Kilim from the late 20th century with a horse standing on a sky blue field Measures: 3'8'' x 3'9''. This was originally belonging to a private Persian col...

An antique 17th century Brussels Old Testament Biblical tapestry, size 11 '3 H x 10'10 W, featuring Isaac with his sons, Jacob and Esau, and other figures nearby. Enclosed within an ...

Antique 19th Century French Verdure tapestry depicting a pristine and lovely landscape on the banks of a river with cupid hunting deer. The scene is surrounded by verdant and floral ...

Fine 17th century Baroque period silk and metallic thread embroidery panel. Excellent vibrant colors of bold burgundy, pale cream and beautiful, elegant teal with a border of textur...

Vintage Persian Heriz Oriental rug, Small size A vintage Persian Heriz oriental rug, size 5'8" x 4'10", circa 1930. This handsome hand-woven geometric rug features a central medal...

Archival pigment print by Paul Fusco. 15.75" x 17.75" Black painted floating frame included. Dimensions: 20.5" x 15.5" x 1.25" From the series with which Paul Fusco gained world fa...

This customizable Murano glass curtain in black, amethyst, clear, gray and aqua tints worked with avventurina, a contemporary work of art as a very decorative solution for a screen o...

The Swedish America Line commissioned the M/S Stockholm in 1938. Ewald Dahlskog's remit was to design 147 square meters of marquetry for the interior of the ship, making it Dahlskog'...

This is a double-sided painting - Side 1: View of Manhattan, signed lower left and dated 1954. Side 2 (reverse): Genre scene with porters. Dimensions: Unframed: 20.5 x 30.5 inches Framed: 32 x 37 inches Sam Diamond, Polish/American (1919 - 1978) - Born May 1, 1919 in Warsaw, Poland. - Family immigrated to the United States in November 1919. - Began drawing at 6 years of age and continued an active interest in art throughout his school years. - Graduated from Long Beach High School in 1936, at 16 years of age. - Awarded a scholarship to Pratt Institute. - Received art certificate from Pratt in 1939. - Enlisted in U.S. Army Signal Corps. - Film Strip Division- doing artwork for training manuals from 1941-1946. - Formed advertising art studio in 1946 - Continued painting and sculpture to present. - Award for Sculpture and Painting, Westchester Art Society...

4' x 5'10. The Aubusson and Savonnerie French tapestry workshops continued producing extremely decorative and artistic works throughout the 20th century. This wholly abstract recent ...

This rare French Art Deco monumental dinanderie copper charger, by Claudius Linossier, is composed of hammered copper and brass with geometric concentric and triangular silver patina...

Archival pigment print on Moab Entrada 290gsm Measures: 23.75 x 18.75 in 60.3 x 47.6 cm Edition of 100 This work is signed and numbered by the artist, (2016) Images in Debris depicts time lapse photographs of the sky, taken by the artist, at sunrise and sunset. The images, captured digitally, are then printed via a 4-color screen printing process. Each color separation is screen printed and then smeared while the ink is still wet, foregrounding a handmade process that involves tactility, registration, wetness, and specificity of touch. The images of the sun at dusk and dawn are at once universal and highly specific, recording a period of time on a particular day and in a particular place. By objectively recording the images and then breaking them apart and putting them back together, Sze explores the fragility of time passing and our desire for intimacy and touch in the face of both overwhelming natural forces and the ubiquitous images that surround us daily. Sarah Sze...

A French Rambouillet pictorial tapestry from circa 1890, portraying a trio of putti at play in a paradisiacal floral setting, with peacocks and other birds in the background, within an interconnecting key design border. This is a replica from a set of the Giochi di Putti, woven after cartoons by Giovanni da...

Gustavian Swedish 18th century plate rack with original gorgeous rosemåling painting, circa 1800, origin: Northern Sweden.

Fine Wool & Silk Tapestry Noahs Ark Vintage Handwoven Aubusson 8x10 8' x 10'4" 244 cm x 315cm "Rare Wool & Silk handwoven tapestry depictin...

Exhibition poster and mailer for a show of Sister Mary Corita Kent's serigraphs, held at New York City's Morris Gallery from December 8-31, 1965, using her serigraph Love is Here to ...

An antique 18th century French Felletin verdure landscape tapestry, size 8'10 H x 9'7 W. This handwoven antique wall hanging feat...

Mid-Century Aubusson tapestry designed by Jean Picart Le Doux (1902-1982) and handwoven at Atelier Pinton in Aubusson France. Woven in the mid-1960s, entitled "Autumn-Hiver", it depi...

David Wojnarowicz 3 Teens Kill 4, Danceteria NYC 1983: Rare historic invitation published on the occasion of an early 1980s performance by David Wojnarowicz’s, 3 Teens Kill 4 at Dan...

Poster in conjunction with Edward Gorey’s book The Chinese Obelisks, published and distributed in New York and copyrighted by Gorey in 1979. Depicted is one of Gorey’s morbidly comi...

A Flemish verdure landscape tapestry from the 17th century, depicting verdant hills with two large blossoming trees in the foreground, a stream and a large domicile in the middle gro...

Square size Persian kilim from the late 20th century with half an elephant on a green field Can be used as a wall piece too. Very light and easy to hang. Measures: 5' x 5' This was...

1930s Chinese Silk Pictorial Embroidery ( 2' x 3' - 61 x 91 cm )

Aptly titled "Jane Avril," celebrated lithograph artist Henri de Toulouse-Lautrec captures here, in static form, the very particular brand of motion Avril f...

Antique Indian Agra oriental rug, size 13'4"" H x 10'7"". An antique Indian Agra oriental rug, size 13'4"" H x 10'7"" W, in room size, circa 1890. This fine floral wool rug featur...

Seventeen Lithographs for Frank O'Hara, New York, Limited Editions Club, 1988 the complete set of 17 signed and numbered lithographs in colors by Willem De Kooning, title page, and justification, on Chine appliqué, numbered 51 of 60 (there were also 12 with opposite facing text, and 550 bound copies with the lithographs appliquéd to the text pages), all with full margins and beautifully framed. Comes with original black cloth-covered portfolio with black leather label and gilt stamped title (very minor wear) and original purchase paperwork from Baby Jane...

Japanese Edo Period Nabashima Porcelain Blue Plate with Three Sake Bottles, Ca. 1850 PERIOD Edo Period ((1603-1868) – Mid-19...