Tri-State Area - Wall Decorations

Impressive large format photographs by Barloga Studio of detailed owl and duck wings. Organic and earthy as well as modern. Will sell separately but are beautiful as a pair!

5'9 × 12'8. A striking testament to early 20th-century French needlepoint artistry, this antique needlepoint rug, dating circa 1910, features a harmonious series of repeating floral ...

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...

Michael Hedges "Studio Sunday" oil on canvas 52" x 42" in 2021. Michael Hedges, born 1976. Michael's art connects on a cosmic plane with the Abstract ...

Introducing "Le Fourré" (The Thicket) - Our newest limited release art print series. Crafted with a meticulous blend of charcoal, oil stick, and graph...

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

1970s Unsigned Wall Sculpture of a hot air balloon from Curtis Jere. You seldom see this piece come up for sale. This piece is in nice vintage condition. This piece is depicts a 18th...

Hand-Embroidered 100% Cotton New Suzani Fabric Wall Hanging – Timeless Textile Art Experience the beauty of Central Asia craftsmanship with this exquisite hand-embroidered 100% cotto...

This exquisite Galle wall shelf showcases an array of flowers, vegetables, butterflies, and moths that thrived in his garden at 27 Avenue de la Garenne. Adorning the left wall are depictions of Spinning Gourds and Tiger Moths...

Curtis Jere music notes wall sculpture. Very nice vintage condition. Hung above the fireplace in the living room of the HBO Show The Sopranos.

18th Dutch century tile painting of a cat with holding a mouse in it's mouth. Depicted right after the catch, with paw lifted showing exposed claws. The yellow and manganese striped ...

Beautiful large canvas landscape featuring peacock, owl, hawk, and a variety of birds landscape. Vivid colors. Signed L. Cassidy. Wonderfully framed. Curbside to NYC/Philly $450

Copy of a painting titled "Portrait of Madame Recamier 1802"

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...

Photograph Color photograph made with archival pigments on fine art rag paper with matte finish Size varies based on edition This work comes with a "Certificate of Authenticity". Luke Butler...

5220 Italian hand carved wood equestrian wall sculpture

English Georgian (18/19th century) green painted and carved gilt wall plaque of coat of arms with unicorn & lion and broken pediment top.

This series of framed vintage pen and ink drawings on paper depicts a curious relationship between two groups of parent-and-child figures who seem to mirror each other. Each frame pr...

Beautiful reprint of the famous Parisian poster by Henri de Toulouse-Lautrec, published by Imprimerie Chaix. Features the iconic Moulin Rouge dancers...

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

An antique 18th century French Verdure tapestry panel depicting a city on a hill, trees, and animals. Measurements: Height: 88" Width: 145" Depth:...

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

Antique French Tapestry 1920 Handmade Fountain 6x8 Wool Foundation 1920 6'2" x 7'5" 188cm x 226cm A magnificent antique French tapestry depicting a scene of people among a founta...

American advertising display sign of an over-sized ash wood baseball bat with an engraved wood burned inscription and a leather wrapped handle.  

Brunschwig and Fils Boscobel Restoration Medford Inn 1804 hand-printed wallpaper. Very unusual paper - it is marked as custom hand-printed for the Bo...

1970's Italian Malachite and diamonds gold ring. 14K gold,. Has wear by age and use.

Vintage "Näckroser" tapestry by Barbro Nilsson for Märta Måås-Fjetterströms atelier in Båstad, Sweden. Wool inlay on linen in green shades and red details decapitating water lilies. ...

Copy of French Impressionist by Anonymous showing a woman on a dock with a sailboat in the distance

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...

James Welling Lilac Mist, 2017 Epson 9900 print on Museo silver rag paper Image size: 15.5 x 23.25 inches, Sheet size: 18.5 x 24 inches Edition 20, 5 AP's Signed, titled, and da...

Kiko Lopez is one of the few artisans working today in the traditional craft of églomisé. With this beautiful well of glass, which changes dramatically from whichever perspective one...

Celebrate the rich heritage of Asian craftsmanship with this exquisite 100% silk Suzani textile, meticulously hand-embroidered by skilled artisans. A true work of art, this piece emb...

Robert Gardelle portrait Swiss oil painting, 18th century, Switzerland. A portrait by painted Robert Gardelle. Signed a tergo / on the back R. Gardelle...

Modern impressionistic portrait of a smoking man by Costain. Oil on canvas.

A 19th century Burmese Kalaga tapestry with stones, sequins and golden thread. This 19th-century Burmese Kalaga tapestry is a breathtaking piece of cul...

A circa 1940's large Mexican painted wood panel of the Virgin of Guadalupe. Measurements: Height: 60" Width: 36" Depth: 2"

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...

Brunschwig and Fils Boscobel Restoration Medford Inn 1804 hand-printed wallpaper. Very unusual paper - it is marked as custom hand-printed for the Boscobel Restoration, Inc. with a copyright date of 1977. The Boscobel Restoration is a rebuilt historic mansion (see images 9 and 10) in Garrison, NY using salvaged parts of an original Federal-period home that was demolished in the 1950s. This is a historic pattern, marked on the paper as "Medford Inn, 1804" and a registered design of the Society for the Preservation of New England Antiquities. The Medford Inn (see image 11) was built in 1804 and became known as a well-known hotel located on Main Street in Medford, Massachusetts. The design of the paper hearkens back to Roman tradition of wall decoration, with a trompe l’oleil effect that mimics ornate panelling and stone inlay. As per the this paper was also produced in a brown colorway and is part of the Digital Public Library of America and Historic New England...

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

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...

Introducing our exquisite new suzani hand embroidered wall hanging, a captivating piece that combines ancient craftsmanship with modern artistry. This embroidered cloth is not just a...

Large modern Minimalist Abstract Expressionism Color Field composition, circa 1995. Unsigned. Acquired from artist's family. Soil and dust accretion, should be cleaned. Some defects ...

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

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...

Rare Vivienne Westwood autumn/winter 1990 'Portrait collection' Brown viscose top printed with a silver neoclassical design inspired by the mirror...

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

Introducing our exquisite new suzani hand embroidered wall hanging, a captivating piece that combines ancient craftsmanship with modern artistry. This embroidered cloth is not just a...

Botanical photogravures by Karl Blossfeldt (German, b. 1914 - d. 1932), "Urformen der Kunst", First Edition 1929, Berlin. Mounted in simple black frames. The frames are a perfect com...

French Victorian (19th Cent) oil painting of French regiment on horseback (signed BAIRD) in gilt frame

This serigraph, or silkscreen print is signed and numbered by He Neng, born 1942 in China. Titled 'Waterfront' and featuring women surrounded by sealife. He Neng has won prizes for h...

Early 20th Century Silk Chinese Embroidery ( 3'9'' x 5'2'' - 115 x 157 )

Color print of two Canada Jays in a gray painted rectangular wooden frame under clear plexiglass

"Aglomeraciones & Incomunicacion" Acrylic On Canvas abstract artwork by Mexican artist Maricruz Hernandez Covarrubias 1947-2016 Painting measurements: width 47'' height 35.25 Mari...

Hand-Embroidered 100% Cotton New Suzani Fabric Wall Hanging – Timeless Textile Art Experience the beauty of Central Asia craftsmanship with this exquisite hand-embroidered 100% cotto...

Hand-Embroidered 100% Cotton New Suzani Fabric Wall Hanging – Timeless Textile Art Experience the beauty of Central Asia craftsmanship with this exquisite hand-embroidered 100% cotto...

An antique Japanese woodblock print from the 19th century depicting a ceremonial tassel. Created in Japan during the 19th century, this woodblock print attracts our attention with it...

1970's oil on canvas Fire Island Pines modern painting signed "J. Williams" in vintage original condition with some wear and patina due to age and use, there is some wear to the oil ...

A beautiful set of four (4) Neoclassical wall art scenes, circa mid-20th century, Europe. Set includes four different scenes with dark blue and gold octagonal wood frame, matting, pr...

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

A Chinese Qing Dynasty period painting from the 19th century of an ancestral group portrait in custom frame. Immerse yourself in the rich tapestry of Chinese history with this Qing Dynasty period painting, an ancestral group portrait from the 19th century that masterfully captures the essence of traditional Chinese society and family hierarchy. This vertical painting, housed in a custom composition wood frame with plexiglass, is a testament to the time-honored artistry of Qing Dynasty artists. Crafted on parchment paper, the painting displays generations of ancestors in a systematic, frontal arrangement. The chromatic spectrum of their robes - blues, reds, greens, golds, blacks, and oranges - adds vibrant depth to the ancestral tribute. Civil officials are distinguished by bird-adorned buzi, an emblem of their rank. In line with tradition, the portrait hierarchy descends from top to bottom - the older generation presides at the top, followed by subsequent generations. The men are positioned on the right, the women on the left, reflecting the societal norms of the period. Bordering the parchment, a silk frame contributes an elegant finish. Display this painting above a credenza, console table, or enfilade, and it promises to enhance any interior space with its captivating allure and cultural resonance. This Qing Dynasty painting...