USA - Decorative Art

Decorative pair of French Pastoral painted panels on wood stretchers.

French Majolica cicada wall pocket from Provence. Height / 5.5 inches.

A fine pair of French 18th-19th century whimsical rococo style chinoiserie oil on canvas, circle of Jean-Baptiste Pillement. (French, 1728-1808). One oil painting depicting an outdoor patio scene of a standing young mother, holding a fan, with her three young children playing with a horse-toy, a parrot and a cat, all surrounded by flowers, plants, trees, planters and flanked by a dragon fountain...

French Majolica plate signed Choisy le roi, circa 1890. Decorated with leaves, ferns, pink flowers and Greek border.

17th C Neapolitan School Painting Oil Canvas Old Master Mola Giovanni Battista . Circa 1600’s important Painting Oil on Canvas painting of a boy with a bird, in original Hand carved...

Large Majolica morning glory plate wasmuel, circa 1890.

Striking 3D Bauhaus inspired art by Dutch visual artist Lejo den Hertog (1945, Delft). Consisting of diagonally placed geometric shapes and bold primary colors this work from 1969 (p...

Group of six hand-colored engravings of monkeys by Jean-Baptiste Audebert (1759-1800), from his 'Histoire naturelle des singes', which included 62 images drawn and engraved by himsel...

Midcentury Octogonal Plate Robert Picault Vallauris. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of A...

Sheep Tapestry designed by Studio Ahead. The tapestry is made of custom cream merino wool felt from Northern California sheep. The fluid shapes are inspired by the smooth lines of stones and pieces of driftwood found on Muir Beach...

I have owned this Patrick Nagel original silkscreen “Seated Man” since it was released in 1981. I was in fashion college then and Patrick and hi...

Unusual rare French, faience oyster plate signed Fourmaintraux Desvres, circa 1890. Butterfly on the center surrounded by six wells with floral pattern. Chip on the back ( picture )

English set of four prints/original pages from the Repository of Arts & Science Magazine NO. LX. Dec. 1813. NO. LVIII. Oct. 1813. NO. LIV. June, 1813. NO. LIX. Nov. 1813. The Repos...

Hand made porcelain hanging piece by ceramic artist Kristina Kotlier. Porcelain bells are hand strung onto cotton rope. Custom sizes available.

Molded copper rondel plaque of the great Flemish Master Peter Paul Rubens. Rubens is depicted in a high-relief bust, facing three-quarters right with a br...

French Majolica pink daisy plate Orchies, circa 1890.

Majolica oyster plate attributed to Keller Et Guerin Saint Clement, circa 1890. Reference / page 98 "Collecting oyster plates" of Jeffrey B. Snyder.

A large intermediate size Caucasian rug from the early 20th century Measures: 5'2'' x 9'4''. Antique Caucasian rugs from the Shirvan district village are still considered one of th...

19th Century Minton Pink Flowers Oyster Plate.

Painted by W.V. Bagnall.

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

English Majolica Pink Geranium Plate, circa 1880.

Majolica grape plate Villeroy & Boch, circa 1890.

French Faience Blue & White Bird Plate Moustiers Style Moustiers style Martres Tolosane, circa 1900.  

19th Century Neoclassical Spanish Large Genre Painting attr. Stunning oil painting on a large-scale canvas features a Gypsy musician serenading a group of nobility, including elaborately dressed ladies. The scene takes place in a romanticized garden setting on an early evening. The background is adorned with colonnades, statues and additional people. This Spanish painting has distinctive characteristics of French and Italian influence of the Baroque and Neoclassical periods. The brilliant artist has mastered the perfect use of chiaroscuro, the interplay of light and dark. The subject and masterful technique indicates it was created by the hand of Jose Jimenez Aranda...

French Majolica cornflower and wheat plate Sarreguemines, Circa 1890.

A large Japanese Wedding Kimono with bold embroidery designs. The auspicious attire was known as Uchikake and was worn by the bride during the wedding ceremony made from silk and hea...

Vintage Villeroy and Boch 1900 Art Deco design, woman with parrot. Villeroy & Boch Design 1900 Porcelain collectible plate. The subjects coll...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

Decorate a kitchen wall with this French copper bassinoire, or bed warmer. Crafted in France circa 1880, the piece is dressed with a wooden handle, and features a copper vessel with lid...

An outstanding and grand scale oil on canvas painting of a nude male. Entitled "La Vittoria Della Verita' Sull'Insidia" - "The Victory Of Truth Over The Trap"..... Expertly executed ...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan. Ready to go on a wall.

A pink-white, antique French still life oil on canvas painting depicting a working table with a yellow teapot vase with flowers, painted by Eugène Henri ...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Rare Oyster plate signed Robert Picault. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After the war he spent a short...

French Majolica Bird Plate signed Nimy Les Mons, circa 1890.

English Majolica Strawberry & Grapes Plate Wedgwood Circa 1930. White and gold. 8.8 inches.

Umetaro Azechi "Three Men on Mountain" Abstract Woodcut Monoprint A colorful framed abstract woodcut monoprint by well-known Japanese printmaker Umetaro Azechi (1902-1999). He was b...

Art nouveau painting of beautiful maiden and mischievous angels. An allegory of Spring. Watercolor painting by Alessandro Rontini (Italian born 1854). In beautiful custom floral deco...

Rare set of two small framed oil paintings by Ivan da Silva Bruhns, (Paris, 1881-Antibes, 1980). Unique works. Signed. Each panel is 9 in. wi...

French Majolica oyster plate Orchies, circa 1910.

Rare Majolica strawberries plate signed Sarreguemines, circa 1870. Rare chocolate color. 7 plates available individually.

Rare Oyster Plate signed Robert Picault. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After the war he spent a short ...

Decorate a shelf or a kitchen wall with this elegant and "One-of-a-Kind" hand crafted barbotine "Trompe L'Oeil" decorative plate. Crafted in southern France, and very realistic, the ...

French Faience Oyster Plate Moustiers Style, circa 1940. Martres Tolosane. Japonisme style.

A terrific wall piece by ceramic artist Clyde Burt (1922-1981). This work was inspired by Jeanne-Paule Marie, better known as Sœur Sourire, "The Singing Nun" who was internationally famous in the mid 1960s. Some of Burt's signature styles are evident in this piece including the stylized faces, and geometric abstracted space around the figures. Clyde Burt (1922-1981) is recognized as an important figure in the American studio ceramics movement. He studied at Fort Wayne Art School, the Cape Cod School...

Large Mid-Century Tulip Platter signed Robert Picault Vallauris. Diameter / 11.4 inches.

Rare Oyster plate signed Robert Picault. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After the war he spent a short...

18th century French Rococo Painting Circle of François Boucher This idyllic pastoral oil painting shows Boucher’s impact on this f...

French green Majolica oyster plate signed Proceram, circa 1950.

A good, signed, antique Dutch delft wall plaque with shaped edge in lozenge form. It depicts an early canal scene with bridge (and town in the bac...

Lovely colorful French Majolica plate with flowers and acanthus leaves Orchies, circa 1890.

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

an abstract Turkish Flat-Weave from the middle of the 20th Century Details rug no. r5897 size 7' 5" x 12' 5" (226 x 378 cm)   

Rare 19th Century French Majolica Artichoke & Asparagus Plate.  

Pablo Picasso Tormented face. Ceramic plate 1956. Large unglazed light earthenware charger with raised design from the “Tormented Face” series . Produced by Madoura in 1956. Numbered...

Midcentury large French oyster platter signed Robert Picault.

Original Lath Art by Austin Productions, hand painted and signed by the Dutch- American artist Theodore Degroot, circa 1970s This charming piece features a ...