USA - Decorative Art

Rare 19th Century Pink Majolica Oyster Fish Heads Plate Wedgwood. 11.4 inches diameter.

Condition: Original Vintage Condition Designer: Muraina Oyelami Manufacturer: Muraina Oyelami Materials: Serigraph Titled “Carnival Fever”, this vibrant serigraph by Nigerian mas...

American School (20th c.), Interior scene, watercolor on paper, signed and dated "Wisner, '81" lower right. A charming, colorful and detailed representation of a beautiful room-scape. It makes me want to grab a good book and snuggle up by the fire. The framing is by The House of Heydenryk...

Majolica grapes plate signed Keller & Guerin saint clement, circa 1930.

A late 20th Century, vintage French relief or wall panel in plaster depicting an oceanic scene with a composition of seahorses, shells, starfish and seaweed, in good condition. The a...

Japanese 17th century school "Tale of Genji Scene" painting on paper, mounted to board. Nicely framed and boxed. Professor Melissa McCormick at Harvard b...

A small vintage French coat of arms or shield, featuring a trio of lions at the top left and bottom right representing England, in good condition. ...

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

Green Majolica oyster plate signed Sarreguemines, circa 1930.

Vintage French Tapestry by Georgette Owens, France, Mid-Twentieth Century. Size: 3 ft x 4 ft 10 in (0.91 m x 1.47 m)

Pair of antique hand carved walnut bas relief panels / wall plaques, showing Neoclassical female figures, one holding sheaves of wheat and the other ...

2 Wall hanging Neoclassical Archictural panels, circa last quarter 20th century. Depicting the interior walls of a temple or residence of royalty. Each is painted on board with a me...

Majolica oyster plate Sarreguemines, circa 1920. 6 Shells and space for the lemon on the center.

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 Variety of Eleven Wonderful Old Maps, Framed

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

Based on an archival 1947 Josef Frank print, this hand-drawn pattern bears the designer’s signature modernity, whimsy, and warmth. Panel Width: 27...

Signed lower left. A lovely pensive woman dressed in 19th c. style holding flowers. She looks to the left with fruits in an abstract composition on a tab...

Ferdinand Wagner II (German, 1847-1927) A very fine and charming triptych group of three oil on canvas laid on board titled "An Allegory to Spring" each panel depicting different playful and joyous scenes of putti and a cherubs reminiscent of spring, love and peace. The center panel depicting a seated putto, crowned with flowers, a standing putto behind him holding a sack of arrows and a seated cherub facing him next to a watchful peace dove on top resting of a flower bouquet. The left panel depicting a seated putto next to a standing putto with a freshly harvested apple. The right side panel depicting a standing cherub holding a fig branches with leaves. All three-in-one panels within individually carved giltwood frames. All panels signed at the lower left: Ferd. Wagner, circa 1890. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr...

Large French majolica oyster platter with handle Orchies, circa 1900.

A Rare Parisian Gem: "Le Vert Galant" by Henri-Jean Pontoy This captivating oil painting by Henri-Jean Pontoy (1888-1968) offers a unique perspective on the famed Paris, France land...

Here we offer 2 original vintage handcrafted acid etched brass metal owl and frog art pieces. Both are framed and have the original paper back label with the Models on the reverse. The frog is the symbol of prosperity, and the owl is symbol of the ghost spirit by the Haida Pacific Northwest Coast...

Capture the essence of coastal living with our Vintage Majolica Lobster Plate. Inspired by the rich maritime heritage of America's shores, this plate features intricate detailing and...

19th century Italian School oil on canvas of Madonna and child. Gilt frame.

19th Century French Majolica oranges Wall Platter.  

Nicely framed collectible print by listed artist Fukaye Roshu, circa 1960s very nice condition stamped certificate in the back as shown.

Cleanly designed and beautifully glazed by the Mosaic Tile Company of Zanesville, Ohio in the 1930s, this Classic Art Deco tile is framed in its original quartersawn oak frame. Founded in the 1890s, the Mosaic company reached its peak in the 1920s and 1930s, attracting major talent such as Frederick Hurten...

Roman De Tirtoff, also known as Erte, Art Deco framed silk scarf titled, “The Nile”. Framed in a very complimentary gloss black lacquered wood frame....

Vintage large oval ceramic wall plaque or tile features Modernist abstract decor with branches of orange fruits and green and yellow leaves displayed on blue-green background. The o...

19th French Green Majolica leaves plate signed Gien. Measures: 7.5" inches diameter.

Vintage Piero Fornasetti Gold Adam Porcelain Plates, 1970s. A complete set of twelve vintage painted gold ground transfer-printed porcelain plates in black and white...

Framed and PressedEarly 20th century "Herbier" Botanical Specimens 19" H x 13" W each.  Sold as set of 4. Herbier specimens were collected and pressed from plants found around the w...

Small Majolica pink wild rose wall pocket signed Delphin Massier, circa 1880

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) a fine oil on board "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

Jean Antoine Watteau (1684-1721) circle of. 18th century old master painting, France. With great pride we offer an extremely rare masterpiece from the 18th century, France. This painting is unsigned as most of his works. It has no provenance, but carries with it all the earmarks of the great Rococo style school of Watteau. It pictures one of his famous outdoor parties with a group of frolicking young people. In the background is a reference to a swing, a favored subject in his paintings. The composition of the painting, colors, brushstrokes (especially in the fabric) is clearly Watteau’s studio. This large 18th century canvas...

A finely crafted antique Italian Pietra Dura mosaic in the style of Richard Blow featuring an intricately designed butterfly in a beautiful gilded frame.

Colorful French Majolica green oyster plate with stylized leaves, circa 1890. Very rare color.

French Faience rustic oyster plate Moustiers style, circa 1940. Painting of birds and flowers.

A round brass serving tray or decorative wall art piece, circa early to mid-20th century. Brass tray is round with a Mughal or Moorish design. Great as a serving tray (as demonstrate...

French Majolica pink daisy plate Orchies, circa 1890.

Beautiful set of two Mid-Century Modern shell purses. Both have mother of pearl, turquoise and silver inlay and are now mounted in new shadowboxes. Very un...

C. Jere tree wall sculpture with Brutalist details to branches, signed and dated. Sculpture is made in two sections where one of the branches ...

This sculptural stone triptych features a beautiful array of fossil fish: three Diplomystus dentatus, four Cockerellites liops, and twelve Knightia eocaena are all preserved in an el...

Large French Mid-Century Blue Flower Platter signed Charolles. 11.3 inches diameter.

An antique pair of Grand Tour intaglios in wooden frames with a total a 72 medallions. Wear consistent with age and use. circa 19th century, Italy.

Pair of wall hangings, each antique fragment having painted and gilded frame with leaf detail, surrounding a classical carved giltwood face surmo...

The Classic Cappiello poster in an outstanding custom frame. Signed in the plate 922 lower left. A festive female figure supports a glass of overflowing bubbly Contratto on a black b...

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

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...

Large French Majolica cicada wall pocket from Provence. Height / 9 inches.

French aqua Majolica wild rose plate Sarreguemines circa 1890.

A set of two Japanese paintings, each with a hand gilt background depicting a Japanese Magnolia painted sans traverse across the two panels. The originals Japanese, circa 1900. Di...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Rare 19th century English yellow Majolica oyster plate, maybe Copeland.

Vintage Shadow Box Framed Japanese Wedding Kimono

French Majolica oyster plate signed Hippolyte Boulenger Choisy-le-Roi. The six pink wells are surrounded by green seaweeds.

19th Century Majolica chocolate oyster plate with green seaweeds Luneville. Reference: Page 43 "Oyster plates" of J. Karsnitz.

Unique portrait mosaic. Titled "The Athlete", dated 2019 and signed. The mosaic is constructed out of natural stone in the most gorgeous tones. No damage to be noted.

Sexy, large and impressive 1980s wall art attributed to Curtis Jere and made of brass, chrome and black metal sheets - as if bound together like a bow ...

Wall Sculpture #758 by Karen Gayle Tinney Four panel wall sculpture. Hand formed ceramic pieces in unglazed white stoneware with white cotton fringe in two thicknesses. Hanging wire...