New York City - Wall Decorations

Highly textured, abstract wall relief of sawn, stained, and collaged wood and found wood objects by Lithuanian-born American artist Josef Twirbutt. T...

18th century Tapestry Handwoven Wool & Silk Tapestry Palm Tree 8x12 226cm x 359cm 7'5" x 11'9" circa 1880 "This is very fine antique Flemish tapest...

A French Aubusson Biblical tapestry from the late 17th century, depicting King Solomon and the Queen of Sheba seated on a throne at center, flanked on either side by attendants, to t...

English Victorian gilt framed oval inset oil painting of 2 figures with cows on a vertical landscape

A French religious tapestry from Paris, circa 17th century, size 11' H x 11' W. This magnificent handwoven wool and silk wall hanging envisions the marriage of the New Testament figures, Mary and Joseph, with the High Priest flanked by Mary and Joseph at center and a dove above them, and with the central figures attended by a noblewoman and a group of men, and with a mother and child seated in the right foreground. The central scene is enclosed within a border that is characterized by upper and lower central cartouches, supported by putti. It contains a star above, and the armorial of Pierre Guischard below. Six additional cartouches containing the symbols of the Evangelists run through the rest of the border, interspersed with fruiting and flowering elements, decorative swags, and birds. Pierre Guischard (1614-1701) was doctor of Theology of the Holy Faculty of Paris and Great Master of the College of Navarre in Paris, Advisor, Chaplain and King Louis 14th...

Born in the UK, David Bromley immigrated with his family as a child to Australia where he still lives. Self-taught, he began his artistic career as a potter, and then, with a focus on painting, became known for his storybook images of his imagined British childhood. These images are the frequent subjects of his large oils on canvas, small embroideries and gorgeous silk screen prints with children playing, skipping, sleeping or at the seaside in boats, as if from the pages of Dick and Jane books...

1770 Multiple sized silvered and gilt framed mirror wall sculpture

3797 Folk Art wall decoration /tapestry Hand sewn with beaded sequins and glass balls on dyed cloth Mounted on acrylic panel with gilt wood frame(old piece mounted at later date) Ta...

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...

Pair of rare bronze finish sconces by Pietro Chiesa. From the Teatro Nuovo, Parma, 1939. These massive sconces adorned the face of the Teatro Nuovo in Parma and have been seldom ...

19th century Dutch painting of children on a Hay Cart - unsigned In great condition ready to hang Measures: 42" H x 34" W and 49.5" H x 40.5" W framed ...

19th century Portrait painting of a women by Anton Romako (Austrian, 1832-1889) In good Condition Ready to hang please see photos Size is app...

Painting on wood by New York City picking and art legend, Robert Loughlin. Signed and dated on the back, “Get me out of Deat, 99”. Featured in Patrick Parrish Gallery's “Robert Lough...

Introducing "Étretat," our latest limited edition fine art print by Christiane Lemieux. This gorgeous piece captures the timeless beauty of Normandy's iconic coastline, drawing inspi...

An extraordinary early 20th century Persian Mohtashem Kashan silk room size rug highlighted by a light green field. Measures: 8'4'' x 11'5''.

Finely painted in an Italian palette with mythological and Roman battle scenes, each border rim painted with yellow enamel. With a large carved ebony...

Robert Swain Painting, Abstract, Acrylic on Canvas, Pink, Blue, Green, Signed. Medium scale optical grid painting in a spectrum of colors by Manhattan artist, Robert Swain. Mr. Swain...

Bit map throw blanket 04 by Luft Tanaka Studio A colorful graphic throw blanket / wall tapestry woven out of 100 % cotton yarn based on digital pixel art created using an early bitmap drawing software from the 1980s and 1990s. The cartoon like clip-art graphic makes it a perfect addition for a kid's room and grown-ups looking for a touch of 90's throwback. Measures: 37" x 52" / 94cm x 132cm Please inquire if you're interested in other sizes: 50" x 60" / 127cm x 152cm 60" x 80" / 152cm x 203cm The Bit Map Series is based on digital “doodles” Luft makes using Kid...

Antique Persian Hamadan Oriental rug, Small size A vintage Persian Hamadan oriental rug in small size, size 6'6"x 4'5", circa 1920. This lovely hand-knotted carpet features a hera...

English Victorian style burl walnut framed oil painting of jockey on horse.  

Copy of a painting showing a Native American under a cactus tree festooned with fruits and birds

An Old master manner mixed media painting on paper depicting an interior genre scene in a castle. The painting is adorned with a hand painting frame featuring animal, floral, foliage...

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...

Stroke by Sabine Marcelis The Stroke collection was really about creating a singular gesture as a rug. A simple brush stroke which highlights the extraordinary craftsmanship of woven...

A striking Metropolis Large Framed 3-Sheet Lithograph Poster The original poster is one of the rarest film posters in the world, selling for $500,000+ at auction. This is a faithful ...

An early-20th century French hand-painted plate by T & V, Limoges, France. Plates' design is beautiful fuchsia-purple and pink mum flowers and green leaves, finished with a gold gilt...

Pair of Hollywood Regency style plaster on wood wall candle sconces from the 1940's. Fully formed, dimensional motifs of fruit and flowers hang from ribbon bow motifs. Plaster molded...

American School, (19th century) Jesus Christ as a baby child, oil painting, circa 1860. A truly exceptional quality oil on canvas painting of Baby Jesus...

Discover Sansui, a captivating new piece that embodies the quiet beauty and profound depth of Japanese aesthetics. With its intricate play of lines and rich contrasts, this piece evokes the spirit of traditional Japanese ink wash painting, reimagined through a contemporary lens. The sweeping curves and textured details suggest a landscape in motion—perhaps the wind over water or the flow of a mountain stream—drawing the viewer into a meditative exploration of form and rhythm. The palette, dominated by a luminous interplay of blacks, silvers, and muted golds, captures the essence of wabi-sabi: the beauty of imperfection and the passage of time. Sansui resonates with an artful sophistication, perfect for spaces that seek to balance modernity with a sense of the timeless. From the same studio that brought you Les Terrains...

Pair mirror bird panels. Set of two vintage bronze colored metal large wall decorations with tropical foliage of palms and palmetto grasses with pairs of ...

1550 Italian pair painted wood wall brackets with crackel and gilt finish

Pair of circa 1950’s Italian porcelain elephant-shaped shelves. Measurements: Height: 14? Width: 13? Depth: 9.5?

Bit map series 01 by Luft Tanaka Studio A multicolored and visually striking throw blanket / wall tapestry woven out of 100 % cotton yarn. Measures: 50" x 60" / 127cm x 152cm (custom sizes available upon request) Reversible. Opposite side has the same design with inverted colors. The Bit Map Series is based on digital “doodles” Luft makes using Kid...

Copy of Orientalist painting depicting two figures lounging on a carpet-covered sofa with a third seated figure nearby

Beauvais, France. Depicts arrival at a castle, royal horse being heralded by trumpeter and escorted by two guards, continuous floral border and two minor borders. Linen and wool slit weave Beauvais technique with natural indigo, weld, walnut husk, tannin variegated, lichen and moss greens. Condition: Good. Original border intact, minor repair and protective reconstruction with back added as structural safeguard. Some areas with holes, some areas of repair to border. Measures: 8'7'' wide x 10'1'' 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...

5183 Vintage French painting of a vailed dark haired beauty Framed in a modernict gilt frame Image size 19.5x 15.5"

An original Jansen pencil drawing depicting an architectural detail "Rosace de Plafond" page 137. Stamped: Jansen, 9 Rue Royale Paris 8e.

Painted by W.V. Bagnall.

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...

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...

Magma by Courtney Kinnare 2024 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of transluc...

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...

Copy of painting titled "Declaration of Independence" John Adams, Robert Sherman, Thomas Jefferson (presenting the document), and Benjamin Franklin--standing before John Hancock

Large serigraph on canvas by Alfred "Alex" Gockel, Germany. Known for his vibrant coloring, this piece showcases his artisty, and use of rich primary colors. Set in a wide gilted fra...

This wall hanging is a one of a kind heirloom piece, inspired byFrank Lloyd Wright and the Prairie School architects, and Joseph Albers studies on colors. The entire process of cre...

This Wall Hanging Brass and Glass Shelving Unit is part of Amuneal’s Collector’s Shelving System and features our precision machined brass fittings ...

Mid-17th Century Flemish Tourani Tapestry 2'9" x 7' - 84 x 213

An antique Indian miniature painting portraying a seated sultan holding a sword. Miniature paintings like this one are renowned for their intricate detailing, vibrant colors, and storytelling elements. In this artwork, the seated sultan is depicted with regal attire, holding a sword, symbolizing his authority and martial prowess. Inscribed on top. This particular miniature painting serves as a valuable historical artifact, providing insights into the artistic and cultural heritage of India. Circa the mid late 19th century. Matted and framed. Antique Indian Paintings...

Copy of a mythological dreamscape painting combining Gothic and Neo Classical imagery of a devil sleeping on a womans chest Condition: Good; Wear consistent with age and use

Rose Freedman Naftulin grew up in North Philadelphia where she studies art. Her paintings are in collections at Bryn Mawr College, the Free Library of Philadelphia, the Pennsylvania Academy of Fine Art, Asheville Museum of Fine Art, Woodmere Museum...

Pair of Italian gilt carved panels. Pair Neoclassical carved gilt wood open work panels with alternating square and round paterae with acanthus and further egg and dart borders in or...

Versatile freestanding wall-unit/bookcase in oak, walnut, and pine with aluminum, steel, and brass accents by Jitona (1968, Lomnice nad Lužnicí, Czechoslovakia). Five bays can be assembled in total if all pieces are utilized together - seven pine rails, three long shelves, three long cabinets (including one that is half drawers/half open storage), three long glass fronted cabinets, two shorter cabinets, three shorter glass fronted cabinets, and one drop-down cabinet/bar with glass shelves. All cabinet shelves are removable, though not adjustable. Feet for the cabinets and rails are all adjustable, and the disks on the rails offer stability and protection to both floors and ceilings when adjustments are made. The longer pieces displayed as the three bay unit are all 35.25" long, while the shorter pieces displayed as the two bay unit are all 29.5" L. The configuration options for this highly functional unit are limitless. The bar cabinet, five-drawer walnut chest, glass-fronted cabinets, door-fronted cabinets, and two shelves can be custom-assembled based on requirements/aesthetic preference; the shorter pieces just need to be arranged within the same two bays. The legs for all cabinets can be removed, though, depending on the heft of the items displayed/stored, wall-mounting might be required if the weight is too great for the rails alone to adequately support. The 29.38" high cabinets with legs (if using the legs) must be arranged at the bottom, leaving 64.75" of usable rail height for mounting the other pieces. There are some fleabites to the glass (mostly to the edges concealed by the wooden frame when closed) along with light wear the wood consistent with age/use. Conservatively restored and in very fine, vintage condition. Assembled as a 5-bay unit as shown in the fifth image: Measures: H: 105.38" x L: 171" x D: 16". Assembled as a 3-bay unit with the longer pieces: H: 105.38" x L: 109.63" x D: 16" Assembled as a 2-bay until with the shorter pieces: H: 105.38" x L: 62" x D: 15.63" Each piece of the 3-bay system's measurements - * Two cabinets with doors: Exterior - H: 29.38" (with legs) / 18.5" (without) x L: 35.25" x D: 15.75" / 16.75" (with pls) Interior - Height above the shelf: 7.25" / below 8.25" x L: 34" x D: (shelf) 13.25" / lower surface 14.25" * Drawers: Exterior - H: 29.38" (with legs) / 18.5" (without) x L: 17.5" x D: 15.75" / 16.75" (with drawer pls) Interior (each drawer) - H: 2" x L: 15.38" x D: 13.25" * Small cabinet: Exterior - H: 29.38" (with legs) / 18.5" (without) x L: 17.5" x D: 15.75" / 16.75" (with pls) Interior - Height above the shelf: 8.25" / below 8.25" x L: 16" x D: 14.38" * Glass-fronted cabinets: Exterior - H: 24.5" x L: 35.25" x D: 9.75" Interior - Height above the shelf: 11" / below 11.5" x L: 34" x D: (shelf) 8" / lower surface 9" * Three shelves - H: 0.63" x L: 35.25" x D: 9.75" Each piece of the 2-bay system's interior measurements - * Two cabinets with doors: Exterior - H: 29.75" (with legs) / 18.63" (without) x L: 29.5" x D: 15.63" / 16.63" (with drawer pls) Interior - Height above the shelf: 8" / below 8.5" x L: 28" x D: (shelf) 13.13" / lower surface 14.38" * Glass-fronted cabinets: Exterior - H: 24.25" x L: 29.5" x D: 10" Interior - Height above the shelf: 11.13" / below 11.25" x L: 28" x D: (shelf) 7.75" / lower surface 8.13" * Bar cabinet: Exterior - H: 18.25" x L: 29.5" x D: 10" / 25.88" (when open) Interior - Height (excluding shelves): 16.88" x L: (left side) 9" / (right side) 18.5" x D: 7.75" (shelf) Rails alone: H: 105.38" (the height can be adjusted via a rail extender to, which will be included, and can be increased to 108") x L: 0.88" x D: 5" Cabinet legs...

Italian Renaissance style (20th Cent) gilt framed oil still life painting of fruit, jug, and basket

Agnello Clown, by Robert Springfels, 1949

A French Aubusson verdure tapestry panel from the late 19th century, depicting a heron in front of a lake, surrounded by foliage and with a cottage in the distance, and presenting a ...

5146 Antique Itqlian hand painted ceramic tile of two sisters Hanging hardware on back

A French Aubusson rustic tapestry from the late 17th century, with the turbulent sea at center, and other ships docked by the riverside cityscape in the left distance. Enclosed by a narrow monochromatic border. Wool with silk inlay. Measures: 10’1” H x 7’2” W This tapestry was probably woven after a design by the French painter Claude-Joseph Vernet (1714-1789), renowned for his Marines, or maybe by his student Charles Grenier de Lacroix also known as Lacroix de Marseille...

3-400 two hand painted Folk Art ceramic panels set in a natural wood frame. Image size: 12.5 x 6" Signed Whedon.