New York City - Wall Decorations

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...

Print: Digital Print Size: 508 x 406 mm (20 x 16 in) Edition of 30 This work is signed (2015) Hungarian conceptual artist Agnes Denes was a pioneer of early environmental ar...

Copy of an Impressionist portrait painting titled "Self Portrait 1887"

English Victorian carved gilt framed oil seascape painting of 2 boats by white cliffs (Hayes) Condition: (Canvas has been patched and repaired, some small holes, cracks and repairs...

Pair of Tapestries Antique French Tapestry Handmade Antique Tapestry Wool & Silk 3.3" x 3.10" each. Measures: 99cm x 117cm circa 1920 "This is a very fine pair of high quality rare authentic Antique French Tapestries made with very fine wool & silk. The detail in this piece is incredible- the artisan depicts a hunting scene in both pieces as well as extensive verdure design". Size Approx. 3.3" x 3.10" Each 99cm x 117cm Serial ID # 20955k Design Verdure, Hunting Origin French Age 1920 Category Antique Pattern Hunting Scene, Extensive Landscape & Verdure Material 100% Hand Woven Wool & Silk Foundation Material Cotton Color Beige, Gold, Ivory, Brown, Green, Blue, Red, Light Blue Pink, Mauve, Gray, Rose Quality Exceptionally Fine Condition Fantastic Condition, minute low area About Us~ Welcome to Antique Rug Collection. Your #1 Source for handmade Antique Rugs & Tapestries at great prices, curated by leading industry expert. We are a 6th Generation antique rug shop with 48+ years of experience working with designers, private clients, dealers, and really anyone looking for a unique antique rug at a great price. We've made an imprint selling rugs...

Copy of a portrait painting of a gentleman with a gold hoop earring and wearing a medal

"Creation of the Magic Light" is a tapestry composed of four separate parts by Amsterdam-based Swedish artist Alfhild Külper in a pixelated combination of periwinkle, peach, blue, a...

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 fine-quality antique Tibetan throw-size pictorial rug. Would make for a great wall hanging too Measures: 2'5" x 5'

Stephen Cimini Artwork tittle "Stepping Up To Paradise" part of his early work collection, in very good condition.

Antique French Tapestry Wool & Silk Masquerade Vase Exotic Flowers 4x5 1920 4' x 4'8" 122cm x 142cm "A magnificent antique French tapestry depicting an ornate vase full of flowers....

Beautiful water scene by French painter Georges Philibert Charles Maroniez (1865 – 1933). This reproduction holds his brush strokes and command of color. Set in a painted wood frame,...

This beautiful star tiger wallpaper, a collaboration with Finnish designer Paola Suhonen of Ivana Helsinki, is the perfect décor for your home or business. ...

All Aboard Original painting by Lynn Curlee This painting was used as an illustration in trains, a picture book for older kids published by Simon & Schuster in 2009. Mr Curlee is ...

French Louis XVI (18/19th Cent) portrait oil painting of young woman wearing a blue dress holding a pink ribbon with flowers in her hair in a gold carved frame (style of NATTIER)

"You So Sweet" (2023) by Lowell Boyers is a luminous, high-energy composition-an explosion of color that feels both intimate and cosmic. Against an inky black ground, bursts of hot ...

A unique relief by the renowned design team Gruppo NP2 / Nerone & Patuzzi from 1970. This massive copper relief was used as a chimney cover. The unusual embossed copper plate reflec...

19th Century Set of 3 Framed Chinese Kesi Textiles ( 1' x 1'3" - 30 x 38 )

Hand-picked by buyers at Ann-Morris Inc.

10 Italian Roman Neo-classic (mid-18th Century) panels decorated in Pompeiian style faux marble inlaid patterns. (PRICED EACH)

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

Italian Neoclassical-style carved giltwood wall plaque centering a putti face surrounded by a carved sunburst. Panels are separating, losses to finish.

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...

English Victorian gilt framed oil painting of harbor and boat yard.

Blue and yellow Neapolitan equestrian tile. Large equestrian-themed floor tile of bold blue and yellow design featuring mounted huntsmen, of Italian and Arabic riders with hunting ac...

American mid-century oval shaped metal wall plaque map of the world with gold continents in relief against a black grid.      

Stunning 1980 original screenprint titled "Dynamic Perversity" By British artist Duggie Fields. Signed, dated and numbered "Arist's Proof VIII" (aside from the edition), this piece w...

"ROUGE PAD" (GLENN 134), an etching with aquatint, printed in colors, hand-signed in pencil, titled, and numbered in pencil 25/78 by James Rosenquist, American 1978 (Signed on front,...

A Flemish mythological tapestry from the 17th century, depicting the twin Greek deities, Apollo and Artemis, with Apollo, the deity of music and the...

French Victorian style (20th Cent) gilt framed oil still life painting on board of sunflowers.

Copy of painting in Modern Cubist style showing a black ground with yellow, grey, wite and brown collage Condition: Good; Wear consistent with age and use

An antique Chinese watercolor painting on silk depicting a Royal Processions in Beijing in the manner of Zhou Peichun, Late Qing dynasty, active circa 1880 and 1910. Unsigned. Framed...

Keith Haring Resist in Concert! newspaper clipping, 1988: Vintage original Keith Haring 1988 newspaper advertisement for Refuse and Resist produced concert December 4, 1988 at New Yo...

English Victorian black & gold framed colored lithograph of an English estate "Bradbourne, Near Levenoke, in the County of Kent"

Monumental and unique engraved painting, a combination of the “Horses Plaque” and “Peasants Plaque”, in patinated bronze and pewter with vibrant hand-applied enamel cloisonne in blue...

Vintage J.J. Audubon color print of three ivory-billed woodpeckers under clear plexiglass in sage green matting and a gray painted rectangular wooden frame

Early 20th Century Set of Silk Embroidery of Peacock & Phoenix

Italian Renaissance style (20th Century) painting of two knights on horseback engaged in jousting against a black and beige chequered ground, on unframed canvas with scalloped edges ...

A fun, textural pattern inspired by the white-spotted rose anemone. Samples are available for $18 including US shipping, please message us to purchase. Printing: Digital pigment pr...

"Les Femmes Un" is a gorgeous limited edition fine art print that exemplifies the essence of modernist portraiture. Capturing the allure and sophistication of a seated woman, the art...

English Renaissance style (20th Century) beige and blue painted tapestry of two maidens flanked by unicorns holding heraldic banners in a pastoral scene with a millefleur background....

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...

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...

3-481 Antique Large decorative Moorish hand made brass tray with elaborative and fine Islamic geometric designs with pie crest edge

Embroidered Holy Spirit panel. Antique embroidered doubled sided panel in paper with original antique seeded glass and gilt carved frame, Italy, l...

A French Aubusson rustic pastoral tapestry from the 19th century, centrally woven, depicting a young swain traveling with his faithful dog in an idyllic wooded area characterized by ...

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...

A Brussels historical tapestry from the late 16th century, featuring several armed figures in the foreground about to engage in battle, as other figures on horseback draw closer from the distance; within a wooded forest setting. Wool with silk inlay. Measures: 8’0” H x 5’7” W. Hanging: The tapestry comes ready for hanging, with linen backing and a strip of hook and loop tape at the top end, which can be connected to the opposite side of the supplied hook and loop tape, which could be tacked to your wall. For those who prefer the use of a tapestry rod...

1980s large abstract painting by NY artist Rowann Villency. With black lacquered frame and Lucite. Artwork measurements height 48'', width 36.75".

A circa 1950s French torched steel wall decoration of concentric circles. Measurements: Diameter 25" Depth 3".

Brutalist style wall hanging by C. Jere for Artisan House. Torch cut and welded with a patinated brass and gold finish. Excellent original, unaltered condition. Signed "C. Jere" M...

Painting in Oil on Canvas, depicting a young fisher boy in swimming trunks, shouldering his fishing rod and holding a basket in his other hand. This wonderful small painting can be c...

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.

PAIR of Italian Venetian style (19th Cent) gilt framed oil paintings of canal scenes.

Early 19th Century Chinese Silk Embroidery ( 3' x 3'7" - 91 x 110 )

American (circa 1880) painted mural of a panoramic view of the New York City harbor with boats & city landmarks. Originally in the American Stock Exchange...

English Victorian (19th Cent) oil painting domestic scene of lady in chair by fireplace in gilt frame. (signed)

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.

English Art Moderne (Mid 20th Cent) oil painting of Stewart's Cup horse race in wood frame.  

Hand knotted in high-quality wool originating from France between 1870-1880, this antique French tapestry highlights a number of distinguished Aubusson and neoclassical elements in i...