Decorative Art on Sale

A rare extra-large print, printed on engraving paper with an antique star press and watercoloured by hand representing an antique capital. The capital'...

A set of 19th-century Chinese silk tapestries, woven or embroidered entirely by hand. Left and right represents a fishing village with women and men fishing at the net. Both ba...

Original riveted sheet iron shoemakers shop sign. Unique find, France, circa 1800-1850. Traces of red paint visible. Weathered.

English Arts and Crafts transferware pottery tile, late 19th-early 20th century, featuring polychrome Art Nouveau / Aesthetic Movement floral motif, set i...

A circa 1880 masterpiece of a young couple feeding doves. This is a superb example of a 19th century unmarked Sèvres hand painted porcelain plaque. Signed by the artist R. Deniau. Th...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

Great image of a brown bear presented in a distressed antique oak frame Lithograph after Cpt. Brown with original hand color. Published, 1847.

French Majolica asparagus plate Orchies, circa 1890. 8 plates are available.

Of rectangular form in five horizontal sections mounted on wood, comprising fifteen copper panels decorated in polychrome enamel with inscription-filled cartouches interspersed by fl...

Immerse yourself in the timeless elegance of 19th-century Italy with this stunning neoclassical arms trophy. Meticulously carved from high-quality wood, this striking masterpiece is ...

Antique collage offers Roman Greco scene in mixed media including paper and woven grasses depicting countryside scene with soldiers and chariot, framed, 19...

This very large and well executed painting on a woven fabric is unsigned and likely done by a European artist in the late 19th century or early 20th century. The painting is done in ...

The 19th century meerschaum carved painting is an elegant and exceptional piece depicting a scene with a female figure surrounded by putti. This work of art carved from sea foam is an impressive example of 19th-century decorative art in France. The attention to detail and delicacy with which this piece was carved is truly remarkable. The female figure and the putti are represented with a grace and precision which reflect the artistic talent of the sculptor. The texture of the sea foam adds an element of lightness and delicacy to the composition. The painting has total dimensions of 36x36 cm, with the central scene having a diameter of 12 cm. This proportion offers a harmonious visual balance which highlights the central scene without overwhelming the whole. This work of art evokes the aesthetic and artistic sensibility of 19th century France. The depiction of the female figure surrounded by putti adds a layer of symbolism and emotion to the piece, creating a captivating visual experience. In summary, this 19th century carved sea foam painting...

A are pair of 19th Century Chinese Famille Rose Porcelain Plaques in Carved Wood Frames. Measures 12.5" in width, 24.25 in height. Great antique condition. Finely carved wood frames.

Framed, signed and dated.

Terracotta Wall Plaque 100 Years of Freedom 1813-1913 Orange House Very rare, terracotta wall plate 100 years of Independence of the State of th...

Framed, dated and signed.

Wonderful and very rare Japanese tapestry made in the 1900s, made of woven silk and cotton, of absolute fineness. The tapestry is developed in length ...

This heavily decorated painting or picture frame has been traditionally made and in good state.

Step back in time with our Late 19th Century painting, a treasure in good condition and a testament to the artistry of the past. Signed in the bottom corner, this piece carries the a...

Antique print of a black bear of America, brown bear of Europe and a Polar bear. This print originates from 'A History of the Earth and Animated Nature' by Oliver Goldsmith. Publishe...

Drawing is framed, signed and dated.

Hans Zatzka (Austrian, 1859-1945) a superb quality oil on canvas titled "Flowers of the Alps" ("Blumen der Alpen") Depicting young standing and posing young maiden holding a wicker b...

Handcolored botanical illustration drawn by G. Reid and engraved on steel by Weddell from John Stephenson and James Morss Churchill's "Medical Botany: ...

Set of 4 original prints of 'McIan's Costumes of the Clans of Scotland'. Included are: Mac Lachlan, Mac Innes, Ferguson and Mac Quarie. This is the reprint of the famous 1845 version, published by David...

Set of 4 original prints of 'McIan's Costumes of the Clans of Scotland'. Included are: Matheson, Lamond, Mac Nicol and Urquhart. This is the reprint of the famous 1845 version, published by David Bryce...

Antique lithograph of Christiansborg Slot, Denmark. Published by Baerentzen & Co, c. 1850.

Pencil on paper, framed, signed and dated.

Set of four antique prints depicting various ornaments. This set includes ornaments of the Antiquity, Renaissance, Middle Ages, 17th century, 18th century and Asia. Originating from ...

The 'Löwe vom Senegal' is an original antique print by Karl Joseph Brodtmann, dating back to around 1830. This artwork captures the grandeur of a Senegal lion, rendered in a style ty...

Antique print titled 'Vue d'un Rocher de Basalte, près de Matavae, Ile de Taïte'. View of a basalt rock, near Matavae, Tahiti. This print originates from 'Voyage autour du Monde sur ...

Handcolored botanical illustration drawn by G. Reid and engraved on steel by Weddell from John Stephenson and James Morss Churchill's "Medical Botany: ...

Look at this Chinese antique wood carving panel, it has very deep 3D carving works of Chinese folks art - deer and immortal holding a glossy ganoderma- meani...

Antique print titled 'Trout Fishing'. Original antique print of trout fishing. Published circa 1860.

It is a framed picture of two cranes used in the space between the columns in the Meiji era. The frame is made of chestnut and the color is like lacquer....

Antique print titled 'Cheval de Course au Moment du départ'. Original old print of a race horse and jockey at the start. Made after a painting by Carle Vernet. Published circa 1890.

Antique bird print titled 'Solstitial Parrakeet. Hand colored print of a sun parakeet. This print originates from 'Systematic Natural History'. Printed for G. Kearsley, 1800-1826.

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...

Antique print titled 'Etalon de race barbe'. Chromolithograph of a Barb or Berber horse. A Barb is a North African breed of riding horse with great hardiness and stamina. It is clos...

18th century Tapestry Handwoven Wool & Silk Tapestry Palm Tree 8x12 226cm x 359cm 7'5" x 11'9" circa 1880 "This is very fine antique Flemish tapest...

Hans Zatzka (Austrian, 1859-1945) a very fine and charming oil on canvas "Spring Beauties", depicting three young maidens picking flowers by a lake. The three young girls sitting, kneeling and laying on a grassy area of the forest, her wicker basket filled with the freshly picked flowers, the middle one wearing a bonnet and a straw-hat laying on the ground behind with butterflies flying by, within a gilt-wood and gesso carved frame. Signed (l/r): H. Zatzka. Circa: 1890's. Hans Zatzka (Austrian, 1859-1945) was a well known and regarded Austrian fantasy artist whose most popular and valuable works depicted figures of young maidens with angels, floral and other cheerful and warm scenes, including Orientalist themes. In the past thirty years alone, the high quality and detail of his beautiful paintings has caught the attention of International collectors and art dealers alike, creating a highly sought after market and demand for his instantly recognizable body of work. In the late 19th and early 20th century, many of Zazka's charming works were photographed for commercial and collectable postcards. Though no information about his works being exhibited in museums is currently available, most of Zatzka's paintings are in private collections and, in the past century, very few of them have become available on the open market. At the young age of eighteen Zatzka joined Austria's Academy of Fine Arts under the leadership of Professor Blaas. For his fine early works, in 1880 he received The Golden Fügermedal award. Zatzka, like many other artists of the era, traveled around Europe working and selling his art and, in one of his many trips to Italy, he developed a special interest in Religious themes, decorating churches with frescos as well as painting several religious scenes of Madonna's and Child, Saints, Angels and others. In 1885 Zatzka was commissioned to paint "The Naiad of Baden" a ceiling fresco at Kurhaus Baden. Most of Zatzka's income came from his work in religious art and special church commissions. Numerous leading art dealers from around the world that specialize in late 19th and early 20th century European genre paintings have come to the conclusion that the painter signing his works Bernard Zatzka, Joseph Bernard or J. Bernard is almost certainly the artist Hans Zatzka. The consensus seems quite plausible when comparing works known to have been executed by Hans Zatzka together with similar works displaying the signature; Joseph Bernard, J. Bernard or Bernard Zatzka. Lohengrin refers to the knight of the swan, hero of German versions of a legend widely known in variant forms from the European Middle Ages onward. It seems to bear some relation to the northern European folktale of “The Seven Swans,” but its actual origin is uncertain. It is also a character in German Arthurian literature. The son of Parzival (Percival), he is a knight of the Holy Grail sent in a boat pulled by swans...

Antique print titled 'Équitation Francaise 1834 (.) Course au Clocher (.)'. Original lithograph of a horse race. Published by Ch. Motte, circa 1830.

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...

Antique botany print titled 'Dacrydium Elatum', Podocarpus eupressina. Original old print of two species of conifer. This print originates from volume 3 of 'Rumphia, sive, Commentati...

Antique print titled 'Cheval de Chasse Anglaise'. Original old print of a horse used for hunting in England. Made after a painting by Carle Vernet. Published circa 1890.

Antique botany print titled 'Licuala nana'. Original old print of a species of fan palm. This print originates from volume 2 of 'Rumphia, sive, Commentationes botanicæ imprimis de pl...

A very attractive late 19th century French fashion plate which was published by La Mode Illustrée. La Mode Illustrée was published in Paris in the 19...

Antique bird print titled 'Grand Lory'. Hand colored print of a lory parrot. This print originates from 'Systematic Natural History'. Printed for G. Kearsley, 1800-1826.

Antique botany print of the A) cocoa tree B) banana tree c) pine tree D) fraxinus ornus E) mushrooms F) ferns. This print originates from 'Aanhangsel tot de vier deelen van den Katec...

The antique print titled 'View of the Tuileries and Bridge' presents a picturesque view of the Tuileries Palace, a historic royal and imperial palace situated on the right bank of th...

Antique decorative print titled 'Graues Eichhorn (.) - Masken Eichhorn (.)'. Original antique print of squirrel species. This print originate...

Plate 155: '1. La Poule Sultane - 2. Le Foulque' (1. Purple Gallinule - 2. Coot). This print originates from 'Oeuvres completes, - suivies de ses continuateur...

Antique print titled 'Der ungehörnte Zebu (..) - Der Zebu'. Original antique print of zebu and horned zebu. This print originates from 'Naturhistorische Abbildungen der Saeugethiere'...

Set of 14 original prints of 'McIan's Costumes of the Clans of Scotland'. Included are: Mac Arthur, Cameron, Skene, Buchanan, Forbes, Graeme, Ogilvie, Mac Nab, Mac Phee, Rose, Mac Dugal...

Henri Victor Lesur (Roubaix, France 1863-1900) a very fine French 19th century oil on panel titled "The Flower Seller by the River Seine" (Marchand de fleurs, par la Seine, Paris) Depicting an 18th century street scene of a flower stand by the river Seine in Paris, the young flower seller attending to an aristocrat couple buying flowers; within its original ornately carved giltwood carved frame. circa: Paris, 1890. Note: The artist is also known as Henry Victor Lesur. Like many of his contemporaries during the last quarter of the 19th Century, Lesur's works took inspiration from scenes of French 18th century life, romance and every day enjoyment. Victor Gabriel Gilbert, Louis Marie de Schryver, Vittorio Reggianini, Maurice Leloir, Charles Soulacroix...

Antique print titled 'Constructions temporaires pour des Réceptions et des Fêtes'. Print of Chinese temporary buildings for receptions and parties. This print originates from 'La Chi...

Antique print titled 'Das edle Englische Pferd'. Original lithograph of an English horse. This print originates from 'Naturgeschichte und Abbildungen der...

Unknown Academy Student 19th C Drawing, pencil on paper.