New York - Decorative Art

An exquisite set of three English circa 1840 shellwork pictures in original giltwood frames composed of various Caribbean or West Indian seashells depicting fanciful designs of a fol...

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...

An antique 19th century Indonesian carved wooden panel from a temple entrance, with scrolling foliage. Only one of the panels in the photo is no...

Fabulous abstract depiction of a Japanese Samurai in ceramic tile, 12 pcs framed and matted. Beautiful tiles, in absolute stunning colors with exquisite lines. In excellent vintage c...

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...

Painted by W.V. Bagnall.

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

African style taxidermy large water buffalo skull mounted on oak shield shaped wall plaque (19/20th Cent.)

Art in Rome in the Eighteenth Century by Museum of Fine Arts Staff; Edgar Peters Bowron; Joseph J. Rishel and Philadelphia Museum of Art Staff. Published by Philadelphia Museum of Ar...

Dutch blue and white Delft porcelain wall plaque (19/20th Century) with scalloped edge and landscape scene of cottage by canal (signed T. Sonneville) (Related item: 043937B, 043937C...

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...

An antique N.W. Persian oriental rug, size 5'6" x 3'6", circa 1910-1920. This handsome hand-woven floro-geometric rug features repeating rosettes connected by trellis motifs in the d...

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 country side painting by Alfred A Waters (1849 - 1912 United Kingdom). Watercolor on paper. Late 19th century. Unframed.

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

A 3rd quarter of the 20th century Persian Tabriz Rug with Moses holding the 10 commandments on a green background Details rug no. 8747 size 1' 10" x 2' 4" (56 x 71 cm)  

Classical standing nude by American artist Jane White. Painted in the 1950s and once owned by the Estate of Eva Gabor. There is no provenance.

A very beautiful and rare set of three (s) antique French plates made exclusively for Bonwit Teller New York, circa early-20th century, France. Bo...

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

The Pietre Dure panel inset with lapis lazuli, marmo giallo, in a rectangular shape, probably a panel from a cabinet.

1950s Carved Wood African Mask Chip in the back as shown

A beautifully made Roman or Greek medieval framed wall art scene, circa mid-20th century, Europe. Scene depicts a muscular man and a centaur (half man half horse...

This print of a lifesize dahlia is gorgeous! Made circa 1850, this botanical print displays the name of the flower written just below the green stem: "Royal Adelaide." The artist has...

Isabella Rossellini raises the most interesting assortment of Heritage Chickens on her farm on Long Island NY and is called. The farm. The above image is one of the many images you ...

Vintage original Folk Art landscape features a rural scene with people in horse-driven carriages arriving to and passing by the small stores, including bookstore and antiques store, ...

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

An antique carved teak architectural panel from the 19th century, with floral and foliage décor. This antique carved teak architectural panel from the 19th century captivates with it...

Black and white engravings with accents of gold by contemporary French artist Foucher Poignant Raised geometric patterns created      

This pair of mid-19th century English corkworks showcases the intricate cutting and piercing of the cork demonstrating the artist's excellent craftsmanship. Each diorama features a ...

In the most technical sense of the word, "Suzani," in Central Asia and Iran, means needle and is used to describe this type of needlework, but to most people, such as decorators or c...

French, 18th century Verdure Aubusson tapestry handwoven in wool with silk highlights framed with a complete floral border. Two birds wade ...

Vintage Mexican pictorial rug weaving with five Yei (Yeibichai) figures holding feathers. Woven of native hand-spun wool in natural fleece yarns ...

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...

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

Pair of Antique intaglios newly framed on camouflage burlap.

Tefillin Bag Textile bag stunningly embroidered with flower scrolling overlooking an ocean in gold colored thread on both sides. Center of embroidery features a soaring phoenix with ...

Vintage Scandinavian Verner Panton “mira Spectrum” Textile, Country of Origin: Scandinavia, Circa date: Mid-20th Century. Size: 7 ft 9 in x 7 ft 9 in (2.36 m x 2....

Rustic style American long horn steer wall plaque mounted on a mahogany keystone shaped backing.

Framed Vintage New York Rocker 1978 featuring The Clash: A framed, complete edition of New York Rocker 1978 featuring a brilliant The Clash cover. Framed d...

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

Mid-Century tapestry designed by Jean Lurcat and woven at Atelier Suzanne Goubely-Gatien in Aubusson, France. Hand woven in wool, it dates to the 1950s and entitled "Bahia La Rouge...

Mid-Century tapestry designed by Rene Fumeron (1921-2003) and woven at Atelier Pinton Freres in Aubusson, France. Woven in wool, it dates to 1964 and entitled "Comme La Lune". The a...

An Exceptional Antique French 1st Empire Period Dore Bronze Grouping of Lovers, Attributed to Pierre-Philippe Thomire a Paris. Exceptionally cast, hand-chiseled and further burnished and matted with two-tone gold, this dore bronze grouping of two neoclassical lovers is of the upmost quality and craftsmanship. As Pierre-Philippe Thomire is regarded as one of the greatest bronzier's of the late 18th century and early 19th century, this dore bronze piece could only be made by someone with his artistic talents. The lovers are seen with the man seated on a cushioned bench with tasseled...

This beautiful and dynamic isometric grid sculpture was realized by the esteemed American artist Dan Schneiger in the United States circa 2010. In dialo...

A lovely incomplete folio featuring 6 of 10 plates from Enrico Baj's mixed-media "Baz Chez Baj" printed edition on wove paper; each print from this limited edition has been signed "B...

"FANTASY" by Thomas Hart Benton. Oil on canvas laid on wood with a gorgeous gold gilded frame. Price upon request.

Large, vibrant French Provincial hand painted faience wall decoration in the shape of a cover, rocaille et décor à la corne pattern. A double cornucopia filled with flowers, flying i...

Beautiful pair of c. 1825 repoussé sheet-brass roundels depicting Danish sculptor Bertel Thorvaldsen's 'Day' and 'Night'. As opposites they represent the two halves of a day, and to...

Introducing our exquisite Suzani Hand Embroidered 100% Silk Wall Hanging, a captivating piece that seamlessly blends artistry and functionality. This stunning decor item doubles as b...

A round brass serving tray or decorative wall art piece, circa early to mid-20th century. Brass tray is round with a Mughal or Moorish design. Great as a serving tray (as demonstrate...

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

Vintage 1968 issue of Avant-Garde magazine with a superb, highly frame able cover illustration by American pop art icon, Tom Wesselmann. Celebrated within this issue is the artists w...

Factory mark of De Porceleyne Bijl Factory. Each painted with scenes of peasants drinking or dancing in a village setting.

The Bible story of baby Moses drawn from the River Nile made with silkwork and chenille. Moses is gently taken from a basket made of reeds while his sister Miriam watches over him. ...

Art at Auction : The Year at Sotheby's 1981-1982. Published by Sotheby Parke Bernet, 1982. 1st Ed hardcover with dust jacket. This annual reference work provides a view of the year's...

A set of dried, pressed and framed botanical specimens, plants and flowers with botanical descriptions Calligraphed in Latin and French. These old pieces are elegantly floated in off...

Sotheby's Art At Auction 1999 - 2000, Edited by Emma Lawson. 'sPublished by Sotheby's Parke Bernet Publications, London, 2000. 1st Ed hardcover with dust jacket. This annual referenc...

Charming decorative large scale acrylic painting by noted Canadian artist Stephen Kaye. The paints depicts stylized birds in branches, on an abstract textured paint surface. Signed l...