Tri-State Area - Wall Decorations

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

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...

Place this long and narrow antique tapestry in a staircase or in between two windows for a pop of color. Handwoven in Aubusson, France, circa 1860, this gorgeous verdure wall piece h...

A set of nine lemercier and cie plates each in a gilt frame, matted. Previous sold as a set of twelve in Christies NYC. See below. Provenance Christies NYC Sale 1495 April 05, 200...

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 ...

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...

Detailed wall sculpture of a pair of herons, made of brass, patina brass and nickeled brass. Designed by Curtis Jere and made for Artisan House in the 1980s. Please confirm location ...

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...

Poster in 1985 created for the exhibition "David Hockney Images and thoughts for Vogue magazine" for the Galerie Claude Bernard in Paris. It promoted the work that the artist created...

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

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 ...

Substantial size. Vintage fiberglass Tang Horse wall sculpture. Great movement and depth. Richly patinated. Curbside to NYC/Philly $450

Vittorio Matteo Corcos, Italian, (1859–1933) Original portrait of Anna Maria Borghese by Vittorio Matteo Corcos. Oil on canvas. Unsigned. Ex-Sot...

Octagonal tin, brass and mirrored vitrine wall shelf. 2 interior shelves

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 ...

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...

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

Painted by W.V. Bagnall.

"La Bodinière," Théatre de la Tour Eiffel by Jules Cheret The first printing, dated "93" at the lower right near the signature Catalogue raisonne: Broido 273.

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...

Copy of a wildlife painting titled "Pair of Cheetahs" showing two big cats lounging with a gold background

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...

Very rare Curtis Jere Motorcycle wall sculpture. This signed and dated piece from 1992 seldom comes up for sale. In great vintage shape.

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...

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...

Impressive large pair of antique distressed original Chinoiserie paintings on wood panels having marvelous weathered patina. Frames are celadon green with silver and gold raised deco...

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...

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...

Designed by Paul Evans in the 1960s for the prestigious manufacturer Directional, this incredible piece is very likely one of a kind. While others exist, none have as many bays (4) o...

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 ...

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...

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

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

Early 20th Century Chinese Silk Embroidery ( 16'6" x 22' - 503 x 670 )

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

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...

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 ...

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...

James Bama (American Artist, 1926-2022) "The Drift on Skull Creek Pass", offset print lithograph from the original photorealistic painting, pencil signed lower right and numbered 54/...

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

An antique Chinese unusual large hand painted two-sided elm divider depicting Guanyin and Zhong Kui, from the first half of the 20th century. This antique Ch...

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...

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

A Series of French Botanical Prints of “Fleurs et Fruits” (Flowers and Fruits) created by Pierre-Joseph Redouté and Jean-Louis Prevost, two of ...

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...

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...

Juan Archuleta gates and garden painting. Well done in a fine custom gilt frame from a fine New Jersey private. collection. Juan S.E. Archuleta, Bor...

Impressive freestanding teak modular wall unit providing multiple storage and configuration options. The three base and upper cabinets can be arranged as shown or as individual stand...

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...

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...

gouache on paper Companions of Apollo, daughters of Jupiter and Mnemosyne (Memory), these nine classical Muses are associated with inspiration and learning. Each of these Muses holds...

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...

"XOXO" - Limited edition blue glass pill sculpture by Edie Nadelhaft. Edition of 9. Signed and numbered on the back by the artist. The piece is equipped with a D-ring on the bac...

Agnello Clown, by Robert Springfels, 1949

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...

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)  

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