USA - Decorative Art

Majolica vine leaves plate signed Sarreguemines, circa 1890.

Majolica corn Keller & Guerin Saint Clement Plate.   

Large Majolica morning glory plate wasmuel, circa 1890.

this game, with its origin in the Renaissance, is a lottery game with cards being drawn that correspond to the characters and objects on the board. with the advent of printing in th...

Pair of French Faience wall pocket signed Desvres Fourmaintraux Circa 1890.  

A most elegant and high quality true pair of Italian 19th century Neo-Classical st. Rosso Antico marble and ormolu wall plaques. Each striking plaque is framed within a circular mottled ormolu border with a fine seashell reserve at the top flanked by beautiful foliate movements. At the center are the handsome Roman soldier and the elegant maiden set on their original Rosso Antico marble backgrounds...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Sotheby's Art at Auction 1997-1998 Edited by Emma Lawson. Published by Sotheby's, London, 1997. 1st Ed hardcover with dust jacket. This annual reference...

Rare English Majolica strawberry plate signed Worcester, circa 1875.

Large Palissy fishs wall platter on a blue background with bugs, butterfly, lizard, crawfish, shells, leaves as ferns. The School of Paris is composed by makers as Victor Barbizet, F...

Vintage 1980's Fela Kuti announcement: Original mockup advertisement obtained from the ad's designer. This rare Fela Kuti announcement/poster was published on the occasion of his Nov...

An oversized antique Asian Buddha head made of hand crafted tropical Hardwood and finished with gilded detailing, in good condition. This large scale wall mounted decorative sculptur...

French Majolica bird with grapes plate signed Sarreguemines, circa 1880. Very rare yellow background,

A historical and impressive set of nine Italian late 19th century Basalt Wedgwood and patinated Wood plaques. Each Wedgwood plaque framed within a mottled edged oval patinated Wood f...

French Majolica morning glory wall pocket fives lille, circa 1890. With a butterfly.

French Majolica dog wall pocket signed Delphin Massier. Height / 7.3 inches. The Massier are known for the quality of their unique enamels and paintings. The Massier family produced ...

19th century French painted paper and mother of pearl fan, shadow-box framed antique ladies fan, made of mother of pearl with a hand embellished re...

Unsigned. Ca. mid-19th c. portrait of a lovely seated lady wearing a black dress with a fine broad lace collar, a sign of her high status in socie...

French Majolica asparagus plate Keller & Guerin Luneville, circa 1890.

A gorgeous antique 19th-Century French majolica porcelain oyster plate attributed to Limoges, circa 1890. Unmarked. This fine quality oyster plate has six wells, a lovely soft pink t...

Majolica dragonfly wall pocket by Desvres, circa 1900.     

French Majolica fish platter Vallauris Circa 1950.

18th Century French carnation plate , Manufacture of Sceaux. Border déchiqueté. Sceaux ceramics are presented at The Getty Museum and The MET. The ceramic manufactory at Sceaux, outs...

Decorative pair of French Pastoral painted panels on wood stretchers.

Lovely 18th century Italian framed painting on canvas of a group of musical instruments, including a French horn, lute, violin and pan flute, all hanging from a ribbon with a big bow...

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...

Art Deco Framed Silk Sarf by Erté, titled Wings of Victory made in the 1970. Wood Frame with Brass Decor. Signed on the Silk Scarf. Silk Scarf Size me...

Abstract Mid Century on Canvas. This custom frame has been painted white since being photographed. Nice bright colors make up this abstract modern composit...

This pair of manuscript pages are 18th century and are done it water colour and gauche. The images are of people in landscapes and the colors are still...

Lovely French Majolica plate pink flowers on a blue basket weave, circa 1880 attributed to Salins.

Ginkgo leaves a line on intricate, hand-crafted branches and seems to float through the air in our latest wall decor introduction. The Ginkgo Wall Sculptur...

A Large and Impressive Early 20th Century Oil on Canvas "Madonna and Child" After Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Chri...

French Majolica asparagus plate Onnaing, circa 1890.

French Majolica Wall Pocket With Flowers Circa 1890. With a butterfly.

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 gilt wood 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...

Majolica leaves & flowers plate Clairefontaine, circa 1890.

Handcrafted Moroccan hand-painted glazed ceramic plate with a yellow background and adorned with geometric black Moorish designs. Signed in the back in Arabic “Safi", which is the ci...

A rare and exquisite set of six French colored copper plate engravings of birds by François-Nicolas Martinet, dated 1787. Known for his work with Buffon’s Histoire Naturelle, Martine...

Pair of French Faience Plate Coat of Arms signed Keller & Guerin Saint Clement, circa 1900. Decorated with coat of arms and lions. Neo Re...

Rare 19th Century French Majolica Butterfly Plate signed Longchamp.

German Majolica Beetle & Oak Leaves Plate circa 1890.

A beautiful, German Mid-Century mosaic that uses a combination of vividly colored ceramic tiles and a concrete background to create this captivating relief scene of swimming fish Rus...

This framed crane barkcloth fabric sample, produced by the Spectrum company around 1949, served as a showcase of mid-century design aesthetics. Displayed in rattan showrooms across t...

German Majolica Leaves Plate, circa 1890.

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.

Rare Large French Majolica lily of the valley wall pocket signed Fives Lille circa 1890.

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 Majolica dish reticulated leaf, Circa 1890.

Vintage still life oil painting of multicolored roses in a vase. Signed by artist in lower left corner.

Painted by W.V. Bagnall.

Striking and beautiful New England quilt in the drunkards path pattern. Excellent condition with a highly modern design pattern. Found in Maine, this quilt made from blue and red pri...

Black paper mache face screen with inlaid abalone and highlighted in gilt with an overall floral spray. These screens were used by women to shield th...

Capturing the look of artisanal processes like ikat or shibori, this 12-foot tall panel wallcovering is printed on sisal for tactile dimension and alludes ...

French Majolica oyster plate signed Longchamp, circa 1900.

Vintage metal tree wall art, three trees. Comes ready to hang.    

A fine and large French 19th century old master school oil on canvas titled "Leda and The Swan" within a giltwood frame. Leda and the swan is a motif from Greek mythology, in which Z...

Charming French Majolica plate grapes Salins, circa 1890.

French Majolica acanthus leaves plates, circa 1880.

This piece was executed by Maurice Alexandre. BACS - EDON ROC, CAP D’ANTIBES, FRANCE (1912-1927) BACS workshop was formed by four colleagues employed by Clement Massier: Jean Barol...

Horizon Summer 1967 Hardcover – January 1, 1967 Horizon Magazine - A Magazine Of The Arts, Summer 1967 By Thorndike, Joseph Ed/ New York: American ...