USA - Decorative Art

Curtis Jere Mid Century Brass Wall Urchin This artwork measures: 39 wide x 9 deep x 26 inches high Great Vintage Condition We take our photos in a con...

Colorful French Majolica green and yellow oyster plate with stylized leaves, circa 1890.

Knute Stiles-painter, art critic and poet was born in Minnesota in 1923 and died in Tuscon, Arizona in 2009. He attended the St. Paul Art School and later...

French Country Majolica Vegetables Platter Vallauris circa 1950. Eggplant,green beans and garlic.

A very unusual and intriguing rare set of six 19th century Chinese gouaches depicting scenes of corporal punishment, and in one, execution. Painted...

From an important thirty year old New England collection of American Folk Art Pyrography Robert Ball Hughes (British-American, 1804-1868) This original period framed 1866 pyrography on wood panel was created after the painting by Sir John Gilbert (English, 1817-1897) with detailed description and dedication written on the back of the panel using the same technique. A photographed rubbing of the reverse dedication will be included and is part of this description (photo). Frame: 20 inches high and 28.5 inches wide; Site: 13.25 inches high and 22 inches wide This painting depicts the episode from Shakespeare’s Henry VI Part II Act III Scene V in which Sir John Falstaff inspects the recruits mustered by Justice Robert Shallow and his cousin Silence. Falstaff sits in a chair surrounded by his cronies whilst Bardolph leads Bullcalf forward. Hayman’s treatments of Falstaff reviewing recruits are perhaps among the most successful depictions of a theatrical scene in British painting. The tableau vibrates with the energy that he brought to his Vauxhall supper box scenes of games and dancing, and is filled with the humour and observation of his portraiture. Every figure is in motion and proclaims its own individuality. About Robert Ball Hughes (British-American, 1804-1868) Known as Ball Hughes and also using that as a signature, this man was a sculptor and wax-portrait artist. He was born in London, England, and died in Dorchester, Massachusetts. He studied and exhibited at the Royal Academy in London as well as at the Pennsylvania Academy of the Fine Arts and the National Academy of Design in New York City. He emigrated to New York in 1829, having earned much prestige in England. In New York, he received many commissions for portrait busts in bronze and wax. Among his subjects were John Trumbull, Alexander Hamilton, and Washington Irving. From 1838 to 1840, he worked in Philadelphia and from 1840, worked in Boston. In his final years, he began to produce pyrographic wood pictures (pyro engravings or "poker pictures"), including The Witches of MacBeth (c. 1840), Babylonian Lions (1856), Don Quixote in His Study (1863), The Trumpeter (1864), General Grant...

La Estrella, 2019 by Maria Jose Franco Maldonado From The Ventura Series. Embroidery thread on canvas Image size: 27 cm H x 17 cm W Frame size: 40 cm...

'Llanberis Lake at the Foot of Mount Snowdon' in Wales. Watercolor on paper, signed and dated "J. Varley 1812" ll, identifying info on verso. sight size: 8 x 19 3/4 in. John Varley is known as an English landscape painter in watercolor and a close friend of William Blake. Varley represents the transition between tinted topographical drawing and the bolder, more fully developed manner of watercolor painting characteristic of the 19th century. As well as being a leading painter, he was the most popular and enthusiastic teacher of his day: his pupils included Cox, De Wint, Linnell, Mulready (his brother-in-law), and Samuel Palmer, and he published various instructional works, including one with Blake. In his early years Varley was influenced stylistically by the work of Thomas Girtin...

19th Century Rare Majolica Palissy Fish Basket Platter signed Leon Brard. 7 fishs, mussels ,ears of wheat ,and shell.

Large oval Majolica Palissy crab and fish wall platter Vallauris, circa 1950 Large crab in relief, fish’s, shells and seaweeds.    

19th century Victorian Majolica aqua oyster plate signed Minton. With yellow flowers.

Rare Large Majolica Heron Wall Applique Delphin Massier, circa 1880. 24 inches Lenght. 9.5 inches Height.

Vintage French Art Deco Le Verre Francais Glass Wall Sconce Covers, 1930s. This lovely pair of glass sconce covers date to the art deco period. Ad...

Decorate a wine cellar with this elegant pair of antique wall plaques. Created in France, circa 1880, and octagonal in shape, each charger...

A beautifully painted portrait of a handsome young man from the Danish modern school dating from the late 19th century, in a carved gold frame from the same period. The painting is ...

A large French 19th century oil on canvas laid on board painting in the manner of François Boucher (French, 1703-1770). The oval framed canvas depicting a version of Boucher's "Venus...

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 Fernand Leger (1881-1955 French) "Mother with Child” ceramic plate hand stenciled & stamped Chauvigny, France. ED. S.e.a.l, Musee F. Leger. Biot. Unique and in very good vintage co...

Charming neoclassic yet naive mixed media collage using a sea fan and seashells as a bouquet in a watercolor classical urn with scholastic style notes. Presented under glass in a wor...

Artist: Hodaka Yoshida (1926-1995) Country of Origin: Japan Medium: Woodblock Introducing the stunning Woodblock Print Titled "Snake Mexico" By Hodaka Yoshida, Japan 1956, a true masterpiece of Japanese artistry. This gorgeous woodblock print features an abstract design printed on high-quality paper, with striking black and brown colors that are beautifully accented with splashes of vibrant red on the snake which is the center of this masterpiece. The intricate details and intricate composition of this piece make it an excellent addition to any art collection or interior décor. Created by the renowned Japanese artist Hodaka Yoshida in 1956 after his trip to Mexico and exposure to pre-Colombian art...

Georges-Louis Leclerc, Count of Buffon (1707-1788) was a French naturalist, mathematician, and cosmologist. Buffon published thirty-six quarto volumes of his most well-known work, Hi...

Antique American Needlework Sampler by Maria Morris, 1827, a needlework sampler on linen panel having alphabet and numerals, above a religi...

Twenty framed steel engravings of English monarchs and rulers from Illustrations of English & Scottish History, by Thomas Archer. Published 1880 in Lo...

A vibrant late 20th century hand painted and lacquered chinoiserie hanging panel. Features an impressive sprawling village landscape set next to a...

Majolica sealife platter Vallauris, circa 1950. High relief of fish, starfish, seaweeds, garlic. Nautical style.  

Cool period 1980's dramatic macrame art wall hanging tryptic signed Tate 1985. Each piece features seven repeating wrapped cylinders, with hair like wool tops and bottoms. Al three ...

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...

Beautiful collectible plate from the famous Danish artist Bjorn Wiinblad (Bjørn Wiinblad). The plate was designed for Rosenthal, Germany and is deco...

Early 19th century blue and white transferware plate with castle, bridge with a flower border signed Clews Staffordshire. Mark 1818-1834. 9.5 inches diameter.  

A pair of English mounted horns appliques with silver rims from the late 19th century. Each of this pair of mounted horns features a silver rim, discreetly accented with delicate bea...

Antique 19th century Portuguese Majolica Palissy style plate with large snake and large lizard searching through mossy tuft, signed Jose Alves Cunha (Caldas da Rainha) with snake, wo...

19th century Victorian hand colored lithograph in original frame. Large and rare folio Beautiful original hand colored print of four girls titled, “God i...

Modern wall Tapestry Designed by Guido Maggiori (b. 1944) Bold, Colorful Abstract Composition Entitled "Rouge, Vert, Jaune, Noir & Bleu". (Red, Green, Y...

Exceptional painting by famous Mexican artist Amador Lugo Guadarrama (April 12, 1921 – June 26, 2002) was a Mexican painter, graphic artist, writer and c...

This fossil fish mural features three Diplomystus dentatus and three Knightia eocaena in a richly hued limestone. The deep colors of our prized "Steel Blue Lake" layer are beautifull...

A black-yellow, dark green antique Austrian still life oil on canvas painting depicting a clear glass vase with many flowers painted by Franz Xaver Pieler in a hand carved, original gilded wood frame, in good condition. The colorful painting depicts a dining table in a DIM room, representing the 19th...

Represented by Tuleste Factory This circular resin artwork by Facture Studio was created to hang on a wall in your space. The piece play with how transparency and light interact wit...

A pair of English neoclassical style carved pine overdoors with swag motifs and dentil molding from the mid 19th century. Each of this pair of English architectural elements features...

A French framed needlepoint tapestry from the 19th century, with ribbon and floral motifs. Set inside a simple yet elegant gilded frame with matting and gilt rim, this lovely horizon...

A fine and large flemish 17th-18th century Baroque figural tapestry "A Royal Courtship" depicting an allegorical courting scene of a young princess meeting her prince at the watchful eye of a mesmerized queen standing behind her. A young girl supports the princess' dress train...

A pair of French 18th century hand-painted decorative panels with birds in foliage motifs. Each of this pair of French panels features a simple s...

Early copy of Dutch painting. Oil on canvas in antique style wooden frame. “Elisabeth Bas (1571, in Kampen – 2 August 1649 in Amsterdam) was a figure in the Dutch Republic. She was the wife of Jochem Hendrickszoon Swartenhont, an admiral in the navy of the Dutch Republic and military hero. The portrait is now in the Rijksmuseum Amsterdam, where it is known as Elisabeth Bas and attributed to Ferdinand Bol...

Majolica grape plate Villeroy & Boch, circa 1890.

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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 Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 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...

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...

International Code Signal letter pennant. Stitched white linen panel with navy blue, centered cross representing the letter X for Xray meaning "Stop carrying out your intentions and ...

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 coveted collector’s item, this Hermès ‘Grands Fonds’ Blue (Detail) Silk Scarf features an intricate aquatic design by the renowned artist Annie Faivre. Originally designed in 1992, this rare version focusing on a detail from the original pattern was issued in 2002. The vibrant shades of blue and lavender create a captivating marine scene, showcasing Faivre’s talent for detailed and mesmerizing compositions. Made in France from 100% silk, this scarf boasts hand-rolled edges and is in new condition, free from any flaws. Carefully mounted with acid-free double-sided tape and displayed with new standoff wall screws, this piece comes complete with its original box. The ‘Grands Fonds’ scarf...

French Majolica bird with holly plate signed Sarreguemines, circa 1880.

Italian Renaissance style Set of three gilt icon wall plaque with swirl columns and religious figures.

A dynamic array of fossil fish flow through this superlative stone mural. A large Phareodus testis, three Diplomystus dentatus, a Cockerellites liops, and nine Knightia eocaena are f...

Large heavy crescent and scimitar Masonic Shriners cast metal emblem wall plaque freemasonry. Crescent and scimitar Masonic Shriners cast metal emblem wall plaque freemasonry. Large ...

Napoleon III style, sometimes referred to as The Second Empire style, was greatly influenced by the Neoclassical aspects of the Louis XVI period. This giltwood barometer from Paris w...

A French 19th Century Louis XV style mirror, carved in Pinewood with Gesso finish and gilded, in good condition. The frame has the typical Rocaille décor. The antique mirror has its ...

19th Century French Majolica apples fives Lille. Measure: 10.5 inches diameter.

This refined Mid-Century Modern brutalist wall sculpture was realized in the United States, circa 1970. It features a patchwork mosaic of adjoined amber forms affixed to a brushed al...

Framed 'Mimoides Pausanias,' 'Dione Juno,' and 'Haetera Piera' butterflies with coordinating 18th century Italian fragments. The butterflies all share beautiful color and pattern com...

Late 19th or early 20th century garden portrait of a lady painted in the period of Art Nouveau. Stylized palms serve as an elegant backdrop for a seated heiress painted in soft paste...