Decorative Art on Sale

Sovereign Cigarettes, circa 1910. A framed antique silk cigarette card circa 1910 featuring one of the 126 piece series of country flags. This one showcases the Imperial Standard Ja...

Antique print titled 'Chasse aux Éléphants'. Original print of an elephant hunt. This print originates from volume 1 of 'Voyage Autour du Monde' by Comte-Amiral Dumont D'Urville.

Beautiful tile mural with the "GENTLEMAN" motif finely painted. Tile mural size: 76.7"H X 47.2"W (195cm X 120cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portugal Production...

Antique print titled ‘Wrestlers at Yokuhama’. Lithograph of wrestlers at Yokohama, Japan. This print originates from 'Narrative of the expedition of an American squadron to the China...

Antique bird print titled 'Gallirallus Fuscus'. Rare antique print of a weka (also known as the Maori hen or woodhen). Published by G. Severeyns, circa 1850.

Beautiful original old print of a lioness and lion cubs. This print originates from Dr. Johann Schreber's 'Die Saugthiere in Abbildungen nach der Natur'(Mammals in Pictures after Nature). Drawn by Johann Elias Ridinger (1698–1767). Johann Christian Daniel von Schreber (1739–1810) was appointed professor of materia medica at the University of Erlangen in 1769. In 1774, he began writing a multivolume set of books entitled Die Säugethiere in Abbildungen nach der Natur mit Beschreibungen, which focused on the mammals of the world. Many of the animals included were given a scientific name for the first time, following the binomial system of Carl Linnaeus. From 1791 until his death in 1810, he was the president of the German Academy of Sciences Leopoldina. He was elected a member of the Royal Swedish...

A great ice axe that was made by the renown blacksmith Fritz Jörg in the small area of Zweilütschinen in the Interlaken-Oberhasli district. One side of the head is inscribed with “F. JORG ZWEILUTSCHINEN BERNER OBERLAND”. It has a wonderful patina that only comes with age. It features its a solid wooden shaft, curved adze and a traditional shaped spike. A wonderful old wooden ice axe from the heart of the Swiss Alps to add that extra decoration touch to your home or mountain lodge...

Unusual handcrafted rattan bamboo fish figure wall mirror, France, 1950s. Rare find. This spectacular mirror has a design combining the Mid-century taste from the French Riviera with...

Moroccan exotic metallic brocade caftan gown, circa 1970s. The luxurious kaftan is designed with brilliant gold metallic fabric. The front of the elegant caftan gown is embellished with woven gold buttons and loops that run down the centre to the hemline. The cuffs and border seams are accented with handmade applique trim. This exotic Arabic caftan gown makes a very extravagant garment for formal attire transitions effortlessly to casual wear Measurements The gown length from the collar to the hem 52" 1/2 inches The bust measured flat side to side 18" 1/2 inches The complete bust measures 37" inches The shoulders measure 15" 1/2 inches The outer sleeve length measures 24" inches The waist section measured flat 20" 1/2 inches The hip section measured flat 24" 1/2 inches Size small to Medium. Elegant vintage Moroccan caftan lime green and silver lame metallic floral Moorish brocade Kaftan, circa 1970s. This vintage long maxi dress kaftan is crafted in Morocco and tailored for a relaxed fit with wide sleeves This long maxi dress kaftan is embroidered and embellished entirely by hand. One of a kind evening Moroccan Middle Eastern gown. The kaftan features a traditional neckline, embellished sleeves It is a slip on, the button does not open. In Morocco, fashion preserves its traditional style inherited from great civilizations that found their way to Northwest Africa, such as the ottomans and the moors. Moroccan fashion has been recognized for its style and has garnered a reputation, winning awards in international fashion shows throughout Europe. Marrakech Bohemian, Yves Saint Laurent style. The Moroccan kaftans are worn by men and women, at home or at Moroccan wedding or traditional ceremonies. You can wear this traditional Moroccan caftan for your next Moroccan party, at the beach or to relax around the pool. Unisex long Moroccan robe...

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 Ma...

Featured in the book A Savannah Experience, by Myrtle Jones, this large pastel painting is one of the artist's finest paintings. Acrylic on canv...

A large Flemish 17th-18th century baroque pictorial tapestry "The Royal Garden". The large tapestry depicting an allegorical park-scene of R...

Vintage 1989 Andy Warhol announcement card published on occasion of: Andy Warhol Flowers September 16-October 14, 1989 Vrej Baghoomian G...

A gorgeous antique 18th-Century Dutch Delft faience floral charger. This lovely large 13.5" plate has a hand painted flower pot center and deco...

The mirror is made by F.C Mailand Hansen, a well known glazier from Copenhagen, Denmark. The mirror is dated to between 1900-1910. It is in neoclassical Revival style, and has an ama...

Antique bird print titled 'L'Ara Vert'. Old bird engraving of a green macaw. This print originates from 'Histoire Naturelle, générale et particulière, avec la description du Cabinet ...

Antique print titled ‘Senateur Venitien, XVe Siecle.’ Original antique print of a Venetian senator, 15th century. This print originates from 'Costumes historiques de femmes du XIII, ...

Antique print titled 'Cheval Navarrois'. Copper engraving of a Cheval Navarrin, also called Navarin, Navarrois, Tarbais, Tarbésan or Bigourdin, an extinct breed of light saddle-horse...

A vintage Mid-Century modern American wall sculpture made of hand crafted metal designed and produced by Marc Weinstein, in good condition. The abstract Brutalist décor piece is comp...

A rare gemstone artwork in the art nouveau style modeled after Alphonse Mucha's "Spring". The painting was done on the back of glass and applied with quartz to create the iridescent background. The Goddess finely painted, delicately inlaid with natural gemstones. She wears a long mermaid...

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...

Théodore Deck ( 1823-1891) Impressive polychromed circular faience charger with hand-painted enameled design of a wader among water lilies and reeds. Impressed Uppercase Mark Th.Dec...

Probably circa 1910, decorative painting with craquelure throughout. Old dark varnish. The sky near frame edge has thicker paint suggesting some later in painting. Stretcher marks sh...

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...

A large oil-on-canvas painting, representing an exotic dreamy palm tree on a colourful pastel backdrop. Entitled ‘Palm’s Parade’, and dated 1980, the painting borders a palm tree with a snapshot of three palm trees on the top right. This painting is the epitome of 1980s American interiors, with its bold pastel shades and abstract shapes. A true 1980s Florida/Palm Beach and Miami artwork...

Antique print titled 'The Vegetable Marrow'. This print originates from 'Transactions of the Horticultural Society of London' published circa 1835. In Transactions of the Horticul...

Antique print titled 'Panther'. Original antique print of panthers. This print originates from 'Brehms Tierleben : allgemeine Kunde des Tierreichs'. P...

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...

Antique print titled 'Chevre'. Copper engraving of a goat. This print originates from 'Handboek der genees- en verloskunde van het vee (..)' by A. Numan. Published by R.J. Schierbeek...

Antique print titled 'Entwickelungsgeschichte I'. Original antique print of various marine life. This print originates from the 6th edition of Meyers Konversations-Lexikon, published...

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...

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

Antique print titled 'Prise de Gaëte'. Steel engraving of the Siege of Gaeta (1806). This print originates from 'Album de Vingt Batailles de la Révolution et ...

A very decorative work of an unknown artist, estimated to be made in the late 19th century. We also offer thousands of antique prints covering fields of interest as diverse as archi...

Set of four antique prints titled 'De Brazza's Guenon - Green Guenon - Erxleben's Guenon - Boutourlini's Guenon'. Chromolithograph of guenon monkey species. These prints originate fr...

Extraordinary collection of 9 Artists-Plates by Rosenthal, Germany. Ranging from 1971 to the mid 1980s, this series from their artists ''Studio-Line'' features designs from artist ra...

Artwork wall Panel scagliola decoration Handmade in Italy by Cupioli available. Prometheus a Greek mythological figure is represented in this panel. To this hero, a friend of manki...

Arts & Crafts Large stained glass window circa 1900-10. Beautiful archway shape highlighted by warm floral motifs. Good original condition. ...

Hard to capture the beauty of these rare stained glass Art Nouveau windows. They come alive when let by natural sunlight to display dazzling warm hu...

Plate 42: 'Turksch Keizerrijk. Keizerlijke Orde van de Halve Maan - Orde van Nichen Istehar of van Verdienste.' (Turkish Empire. Order of the Crescent - Order of Glory). The Imperial Order of the Crescent was a chivalric order of the Ottoman Empire. It was instituted in 1799 by Sultan Selim...

Antique print titled 'Coq d'Inde Noir'. Copper engraving of a black rooster. This print originates from 'Handboek der genees- en verloskunde van het vee ...

Rare Mid-1800s Antique Flemish Tapestry Fine Wool & Silk Green/Blue 5'2' x 5'3" 158cm x 160cm Circa 1790 "This is a very fine Authentic Antique Flemish Tapestry in Wool & Silk ...

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

The antique bird print titled 'Falco Subbuteo' is a historical depiction of the Eurasian hobby falcon. This print is sourced from 'Svenska Foglar Efter Naturen Och Pa Stenritade,' a work by Magnus von Wright. **Key Features of the Print:** 1. **Ornithological Illustration**: The print is an ornithological illustration, showcasing the Eurasian hobby falcon (Falco subbuteo) in remarkable detail. It likely captures the bird's distinctive features, plumage, and anatomical characteristics. 2. **Scientific Accuracy**: Ornithological prints of this nature were created with a strong emphasis on scientific accuracy. The artist would have aimed to provide a true-to-life representation of the bird species. 3. **Natural History Context**: The print is part of 'Svenska Foglar Efter Naturen Och Pa Stenritade,' indicating its role in documenting and studying the natural history of birds, particularly those found in Sweden. 4. **Magnus von Wright**: Magnus von Wright, along with his brothers, was known for his contributions to ornithology through art. The von Wright brothers...

Antique print of various pine trees and pine cones titled 'Cones and Leaves of Cypress - Cones and Needles of Spruce - Cones and Needles of Cedar of Lebanon...

Description: Antique print titled 'Nice - Nizza'. View of the city of Nice, France. Source unknown, to be determined. Artists and Engravers: Published by F. Wentzel. Jean Fréd...

Panel in precious wood inlays 1950 Luigi Scremin. Rare piece. Signed.

Antique print of a Panhard et Levassor deux baquets car. This print originates from a rare catalog of the exclusive French brand Panhard & Levassor from 1914. Panhard was a French motor vehicle...

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...

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...

Rare vintage 1989 Actuel magazine exploring the history of the iconic Andy Warhol and Jean-Michel Basquiat collaborations poster and 1985 exhibit. Cover and interior editorial features reproductions of the iconic 1985 poster shot by Michael Halsband in conjunction with Tony Shafrazi Gallery, New York. A standout Jean-Michel Basquiat, Andy Warhol boxing...

A beautiful original watercolor painting depicting Notre Dame Cathedral and the Seine in Paris, France. Painted by Henri Le Riche. Hand signed on the bottom left, pencil drawing o...

Antique print titled ‘Mastino II, XIV Siecle.’ Original antique print of Mastino II della Scala, Lord of Verona, Italy. This print originates from 'Costumes historiques de femmes du ...

Antique print titled 'Pl. 77 Pruim Var. Jefferson'. This print originates from: 'Nederlandsche Flora en Pomona, beschreven en uitgegeven door het Bestuur der Pomologische Vereeniging...

Antique print titled 'Il Monte avec la Main, les Eperons, et Gaule (..)'. Plate 4 from "La Methode et Invention Nouvelle de Dresser les Chevaux" by William Cavendish. This engraving shows William Cavendish, first Duke of Newcastle...

Resin Relief "La Danse" by Maurice Picot Bring the timeless elegance and artistic flair of the renowned French revue theater Folies Bergère into your home with this exquisite reprod...

Possibly late 18th century but most likely 19th century painted arched painted panel. Either a panel intended for a trumeau or to be inset into wall boiserie as a trumeau. The upper ...

Antique print titled 'Eene Vrouw van Eaoo'. Antique print depiciting a native woman from Eaoo, Friendly Islands, Pacific. Originates from 'Reizen Rondom de Waereld door James Cook (....

Antique mycology print titled 'Boletus Luteus'. Old print of the Suillus luteus. Suillus luteus is a bolete fungus, and the type species of the genus Suillus. A common fungus native ...

Beautiful large antique print depicting various vegetables. Depicted are an eggplant, okra, squash/pumpkin and radish. This print originates from 'Album Vilmorin' published in Paris,...