New York City - Wall Decorations

Naomi Clark paints abstract, vibrant, compositions on silk noil using only one color of silk paint and a spray gun tool. Sold by the yard (36" x 55"), these ...

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...

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

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...

Get lost in this nocturnal fantasy jungle-scape! Flora and fauna combine to create the ultimate dreamy pattern. Samples are available for $18 including US shipping, please message u...

Antique (19th century) oil painting on canvas depicting a seated woman glancing toward the view, penning a letter. Mounted in a period giltwood frame, 32 x 27 7/8 inches. Apparentl...

Copy of a Dutch Flemish still life painting showing fruits, wine and tinned goods on a table

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.

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...

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

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...

Gorgeous photo print by the iconic photographer and fashion designer Karl Lagerfeld of Max Delorme. Image captured and satin finish umber photo-lithograph printed in 1997. Measures: ...

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...

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...

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...

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 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...

Paint on found wood by New York City picking and art legend, Robert Loughlin. “Wood” painted the on back. Featured in Patrick Parrish Gallery's “Robert Loughlin: 1998-2011” exhibitio...

"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...

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''.

Mid-Century seascape oil painting depicting a dock scene with ships coming in to port while dockworkers unload cargo by lantern light in a black painted wooden frame.

Painted by W.V. Bagnall.

Middle Eastern Moorish style (19th Century) carved teak wall panel with a large brass inlaid center panel centered between a mirrored top panel and fil...

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

Mid Century Candle and Plant Wall Decor from Mid Century USA. Black enamel guitar shaped wall decor with candle holders and plant stand which can be...

1753 Four dancing male nudes set in a brass frame Image size 21x7" Signed B.Tapiz 76

A wonderful work by Chilean painter/artist Sergio Gonzalez-Tornero. This color etching with aquatint is pencil signed, titled (A Tree), dated (1964), a...

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...

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...

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...

Venetian style dolphin and clam wall decor set from the 1960's in silver leafed resin with hand painted gold highlights. Together, they make a striking baroque focal point in any roo...

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...

Vintage Venetian-style (20th Century) painting of a canal busy with gondolas winding through a town of classical architecture cast partly in shadow, under a blue sky. Painted on rect...

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...

Harborview of Hong Kong Prattware decorative lid. Prattware decorative lid from turn of the century in original ebonized frame with harbor view of Hong ...

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...

3-575 hand carved wood grey whale wall sculpture signed Claire on verso

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 ...

1756 Large oil painting of an American farmer with his dog and two horses Framed and signed

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...

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...

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...

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, ...

Fine and exceptional Hungarian oil painting of a lifesize reclining nude, odalisque; mounted in original giltwood frame, signed: Szantho Maria ...

Copy of an impressionist painting titled "Children Playing at The Seashore", a scene of three children playing in the surf

The same arrangement of pressed flowers as Roadside Flower, but enlarged to fill your space. Printed on metallic type II. Note: This product is sold by the square foot. Width: Prin...

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 ...

Handsome portrait of a Great Dane by painter, Lawrence Shelby. Oil paint on rust-colored velvet canvas, framed by stained oak. Artist-signed.     ...

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 ...

Copy of an impressionist vertical landscape painting titled "Road with Cypress and Star"

1963 English artist Derek Middleton ( 1928 - 2002 ) extra large black and white painting with accents of rectangular shaped color. Can b...

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...

8-112 Italian intricately carved wood shelf with musical saddle wood inlay.

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...