96 results for "bargello"

This open armchair is characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashionable uph...

A fine early 19th century wingback armchair with mahogany legs, with bargello flame stitch needlework. The chair, 19th century. The needlework, mid-20th century.    

Spetchley park, Bargello, silk, bed curtains adapted into wall hangings in the 19th century • The use of silk, patterning and size suggests that these striking Bargello hangings were almost certainly conceived as bed curtains. In the Green Chamber at Parham House the State Bed is hung with Bargello curtains, pelmets and valences c1620. Like the Parham bed curtains, the Spetchley Park bed curtains have two horizontal pattern repeats in each drop. Needless to say, surviving bed curtains from this period are exceptionally rare as they had value as hangings and for upholstering domestic objects when removed from the bed. • The Spetchley Park bed curtains are really beautiful and luxurious. They were made as elite objects and have not lost their gravitas or their character and charm. • The Spetchley Park bed curtains were adapted into wall hangings in the 19th century. They are versatile and could easily be reinstated as curtains or panels within larger curtains. • Bargello work has a classic timeless quality to it and blends with most decorative schemes whether period or contemporary Each panel is made from two sections of bargello. The step (pattern) comprising two rows of short vertical stitches over two threads of graduating numbers of stitches up and down with two rows of long vertical stiches over six threads of graduating numbers of stitches up and down. Worked in graduating shades of blue, green, brown, red, tan and ivory silks on a hessian ground. The four edges of each hanging are faced with a 19th century, dusky pink fan...

Designer midcentury Brass Bench Upholstered in a Bargello Handmade Cushion Additional information: Material: Brass, Upholstery The brass frame accents the custom handmade white-...

Antiquarian, Baroque-Revival, Ebonised, Beech Stool With 'S' Scroll legs & Stretcher with Amorini Holding a Coronet, Re-upholstered in Bargello This antiquarian, Baroque-Revival sto...

An Unusual, Baroque, Ebonised Beech Armchair With Mushroom and Cup & Cover Turnings, and 'X' Stretcher Re-upholstered in Bargello This armchair has many characteristic Baroque f...

This elegant set of chairs relate to a set of twelve chairs and a settee from the collection of D. Joa~o V, King of Portugal. The parcel gilding gives...

Marble sculpture in the round depicting St. Sebastian, Tuscan workshop, 18th century. The sculpture is taken from the fifteenth-century prototype by Benedetto da Maiano (Florence, 1...

Springy, very comfortable and stabile dining seats. They are contemporary chairs inspired of 1960s style. They can be used as armchairs and dining chairs. Chair was designed by Vi...

Carved in the green marble know as verde prato, by a Florentine sculptor of the XX century this grand tour version of the Leone "Marzocco" is an exquisite example of elegance and her...

The GFM armchair is an icon of the Polish design of the PRL period. The famous armchair was designed in 1962 by the Polish interior designer and furnitur...

Giambologna Style, Life-sized Bronze Statue of Hermes, 18th Century, French, After Giambologna Direct, as seen photographed, from a Greenwich...

This striking pair of armchairs was produced in the late 1940s. The rare design is attributed to the Hungarian designer Lajos Kozma. Kozma was working in the specific Central Europe...

Mid-19th century over life-size carved marble statue of Michelangelo's "Bacchus". Grand Tour copy through the "Point To Point" method directly from the original keeping its masterful proportions and Fine details in an exact size to Michelangelo's work. We have never seen a 19th century copy of this Renaissance Masterpiece of this size and are quite fortunate to be responsible for its stewardship until purchase by a discerning collector The original "Bacchus" is a marble sculpture by the master, Michelangelo, created circa 1496 when the artist was 21. This statue was originally commissioned by Cardinal Raffaele Riario. However, it was rejected by him and eventually found its way to Jacopo Galli, Cardinal Riario’s banker and a friend of the sculptor, who purchased it in 1506. Some 66 years later it was bought for the Medici and transferred to the royal house in Florence, Italy. Currently it can be viewed at the Museo Nazionale del Bargello in Florence. It is one of just two sculptures surviving Michelangelo’s initial period in Rome, with the other being Pieta. The artwork: This somewhat oversized...

A stupendous reproduction of the Niccolò da Uzzano Bust by Donatello (1432) preserved at the Bargello Museum of Florence, this extraordinary oeuvre is one of the most ancient busts...

Carved in the green marble know as verde prato, by a Florentine sculptor of the XX century this grand tour version of the Leone "Marzocco" is an exquisite example of elegance and her...

With a style-critical analysis by Dr. Arthur Saliger, former curator of the medieval department in the Belvedere, Vienna and a scientific pigment analysis by Prof. Dipl.Ing. Dr. Manf...

A patinated bronze sculpture reproduction of the Laocoon group by the Napolitan world famous Fonderia Chiurazzi, Italy 1880-1900. Rediscovered in 1506 in Rome The Laocoon Group is believed to be created sometime between 42-20 BCE by three sculptors from Rhodos – Hagesander, Athenodoros and Polydorus, after the work of more ancien Hellenistic sculptors. Recreated and issued (with several sizes and creative variations) by Fonderia Chiurrazzi, this piece is more than just an incredibly precise and expressive reproduction of the iconic antic sculpture...

Springy, very comfortable and stabile dining seats. They are contemporary chairs inspired of 1960s style. They can be used as armchairs and dining chairs. Chair was designed by Vi...

Large antique Italian majolica pottery bust of a boy after Andrea della Robbia's famous sculpture from the late 15th century at the height of the Italian Renaissance. This tin-glazed...

This is a striking large antique gilt bronze figural sculpture titled "The Water Carrier" (L'acquaiolo) by Vincenzo Gemito, (Italian 1852-1929), dating from Circa 1880. The bronze i...

Italian artist Marcello Fantoni cylindrical ceramic bottle vase is glazed stoneware made circa 1960s. This piece was acquired directly from the artist by the seller, who was a person...

The technique for creating needlepoint rugs and other objects made from needlepoint has remained unchanged since its beginnings in the 17th century. It all begins with a canvas with ...

Needlepoint rugs were created using the traditional needlework weaving technique that is used to make everyday items from furniture to carpets and artwork. However, it has a fascinating history both as a hobby and as an industry. When many people think of carpets, they think of pile carpets or flat weave kilims, but needlepoint has also been used to create beautiful carpets. These carpets are durable and an important part of carpet history. Archaeologists and scholars consider the roots of needlepoint to have been around 1500 BC. They consider the first needlepoint to include the fine diagonal stitches that were used to sew tents together by the ancient Egyptians. The art eventually evolved into tapestry weaving. However, a tapestry weaving differs significantly from needlepoint in that it uses a loom and vertical warp. Tapestry weaving is closer to the weaving of kilims and pile rugs than canvas work. However, some still include tapestry weaving in the category of needlepoint because of the fine work that appeared during the late Renaissance. It can have a similar appearance to the untrained eye. Technically, tapestry weaving and needlepoint are not the same, and they do not use the same technique. The first actual needlepoint rugs and needle-points began to appear in the late Renaissance. Needlepoint is worked by creating stitches on a stiff canvas. The canvas is typically made from jute or linen and is quite durable. Pieces from the Renaissance were used to cover footstools, chairs, pillows, bed headboards, and other furnishings. They were also used as table coverings and wall coverings. You could also find them on many small items such as purses, shoes, and various adornments for clothing. During the Renaissance, the craft reached a high level of skill, and the designs became incredibly detailed and realistic. They mimicked many of the subjects and styles of famous paintings of the time. They created florals, still life designs, scenes, and geometric tiled pieces. Some of them mimicked the designs found in Persian Carpets. Needlepoint reached its peak popularity in the 19th century when it was considered a proper occupation for a lady. Needlepoint and embroidery held a similar place in societal status at the time. During this time, the work became finer, with some of the canvas reaching a high level of detail. The level of detail is determined by counting the number of mesh in an inch. During this time petit point by French needlewomen could have a mesh count as high as 45 mesh. This allowed women to create highly intricate designs with incredible levels of detail. It is possible to find many antique pieces of needlepoint besides rugs. Needlepoint rugs were popular in France and Spain, where the technique was adapted to create highly intricate designs that mimicked the designs in architecture and fashion. They were popular because they were durable, and it could be fashioned into a variety of items. The canvases themselves were durable, and the wool that they used was also strong, which means that many of the pieces were able to withstand daily use. We have many artifacts that have survived from this time period. Needlepoint rugs are important collectibles because they are different from the pile rugs and kilims that are typically found on the market. Needlepoint carpets are special because they take many hours to create, especially larger works. Needlepoint pieces of any type became popular throughout Europe during the 19th century. It is still a popular hobby today, but perhaps one of the most interesting stories is that of the Portuguese needlewomen of Arraiolos. The story of these women and their beautiful carpets begins in 1492. Needlepoint was a popular occupation in Spain, which had a large population of Moors and Jews. They were an integral part of Spanish culture. However, in 1492, Queen Isabella of Spain issued a proclamation that gave these ethnic groups the order to pack their bags and board ships headed...

A beautifully designed, quite large, exceptionally rare oxblood red glazed ceramic/pottery vase by Mid-Century Modern Italian ceramics master and renowned designer Marcello Fantoni f...

Needlepoint rugs were created using the traditional needlework weaving technique that is used to make everyday items from furniture to carpets and artwork. However, it has a fascinating history both as a hobby and as an industry. When many people think of carpets, they think of pile carpets or flat weave kilims, but needlepoint has also been used to create beautiful carpets. These carpets are durable and an important part of carpet history. Archaeologists and scholars consider the roots of needlepoint to have been around 1500 BC. They consider the first needlepoint to include the fine diagonal stitches that were used to sew tents together by the ancient Egyptians. The art eventually evolved into tapestry weaving. However, a tapestry weaving differs significantly from needlepoint in that it uses a loom and vertical warp. Tapestry weaving is closer to the weaving of kilims and pile rugs than canvas work. However, some still include tapestry weaving in the category of needlepoint because of the fine work that appeared during the late Renaissance. It can have a similar appearance to the untrained eye. Technically, tapestry weaving and needlepoint are not the same, and they do not use the same technique. The first actual needlepoint rugs and needle-points began to appear in the late Renaissance. Needlepoint is worked by creating stitches on a stiff canvas. The canvas is typically made from jute or linen and is quite durable. Pieces from the Renaissance were used to cover footstools, chairs, pillows, bed headboards, and other furnishings. They were also used as table coverings and wall coverings. You could also find them on many small items such as purses, shoes, and various adornments for clothing. During the Renaissance, the craft reached a high level of skill, and the designs became incredibly detailed and realistic. They mimicked many of the subjects and styles of famous paintings of the time. They created florals, still life designs, scenes, and geometric tiled pieces. Some of them mimicked the designs found in Persian Carpets. Needlepoint reached its peak popularity in the 19th century when it was considered a proper occupation for a lady. Needlepoint and embroidery held a similar place in societal status at the time. During this time, the work became finer, with some of the canvas reaching a high level of detail. The level of detail is determined by counting the number of mesh in an inch. During this time petit point by French needlewomen could have a mesh count as high as 45 mesh. This allowed women to create highly intricate designs with incredible levels of detail. It is possible to find many antique pieces of needlepoint besides rugs. Needlepoint rugs were popular in France and Spain, where the technique was adapted to create highly intricate designs that mimicked the designs in architecture and fashion. They were popular because they were durable, and it could be fashioned into a variety of items. The canvases themselves were durable, and the wool that they used was also strong, which means that many of the pieces were able to withstand daily use. We have many artifacts that have survived from this time period. Needlepoint rugs are important collectibles because they are different from the pile rugs and kilims that are typically found on the market. Needlepoint carpets are special because they take many hours to create, especially larger works. Needlepoint pieces of any type became popular throughout Europe during the 19th century. It is still a popular hobby today, but perhaps one of the most interesting stories is that of the Portuguese needlewomen of Arraiolos. The story of these women and their beautiful carpets begins in 1492. Needlepoint was a popular occupation in Spain, which had a large population of Moors and Jews. They were an integral part of Spanish culture. However, in 1492, Queen Isabella of Spain issued a proclamation that gave these ethnic groups the order to pack their bags and board ships headed...

Modern abstract painting by Italian artist Adorno Bonciani. The work features two abstract figures on horseback playing musical instruments set against the Basilica of Santa Maria Novella...

Marcello Fantoni (Italian, 1915-2011) Faces Vase Ceramic Signed on bottom 10.5 x 5.5 x 6 inches Marcello Fantoni was an Italian sculptor, ceramicist, metalworker, multi-media artist...

Italian grand tour-era silver figure of Mercury after Giambologna, ca 1820. Mercury holds a herald’s staff in one hand and a torch in the other, and balances on one foot resting on a...

Mid century rococo revival gilt clock by Westerstrand circa 1950. Good quality rococo influenced clock by well known swedish maker westerstrand. Fitted with a twin train 8 day move...

 A tonal, undulating pattern inspired by classic bargello, Venetian Flame Stitch is a timeless rug design that is equally at home in modern and traditional interiors. With its soft s...

A handsome example of a 19th Century Italian fauteuil, this armchair dates to the Louis Philippe period and demonstrates the form at its most characteristic: a tall, arched back with...

A solid, 1974 abstract, incised glazed ceramic plaque by listed Italian artist, Marcello Fantoni (1915-2011). Select public collections: Metropolitan Museum of Art, New York; the Bro...

Marcello Fantoni brutalist welded torch cut metal figurines. Signed on base. Metal label reads "Fantoni Firenze Italy Raymor". Italian Mid century modern Sculptural pair of students. Marcello Fantoni (1915-2011) sculptor, ceramicist, metalworker, multimedia artist and designer Born in Florence in 1915, Marcello Fantoni began studying ceramic art at age 12 at the Art Institute of Florence with ceramicist Carlo Guerrini, artistic director of the famed Cantagalli Factory. He continued years of training in ceramics and the arts, including sculpture with Libero Andreotti and Bruno Innocenti, and figurative art with Gianni Vagnetti, graduating as a maestro of art in 1934. After a stint as art director for a ceramics factory in Perugia, in 1936 he opened the Fantoni Ceramic Studio in Florence. Here he produced ceramic series as well as unique mod pieces, sculptures and furnishings. In 1937 Fantoni’s pieces were exhibited in the Florence National Arts and Crafts Exhibit where their unique combination of rustic forms decorated with African and marine motifs and painted figures garnered considerable acclaim. By the start of World War II Fantoni’s melding of ancient Italian pottery techniques with decidedly Modernist elements had won him artistic and commercial success both in Italy and abroad. Having participated in the resistance, after the War Fantoni worked for the 500-year old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. In the 1950s he refocused on his Florence studio, dedicating himself to larger sculptural pieces and working on many collaborations. He also expanded his experimenting with materials, forms, drawing from varied influences – Primitivism, Novecento style, Cubism and Abstract Expressionism. Fantoni gave special emphasis to ancient Etruscan ceramic techniques, glazes and colors, heightening the timeless appeal of his pieces. As well as clay, he also worked in metals to great effect. Whether created as a series or as a unique piece, every Fantoni piece was ultimately rendered unique by his hand-painting it. The extraordinary diversity of shapes and textures notwithstanding, one the most identifiable qualities of his creations was his painting style. Through the 50s and 60s he made many cubist-inspired vases and ewers painted in colors bordered by sgraffito lines scratched through the paint in a manner evoking Picasso and Braque. Along with figurative and abstract works, the 60s also saw Fantoni creating brutalist pieces with edgy, angular shapes, while in later life, his work took a minimalist turn. In 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. (Many of his students and employees would go on to become noteworthy artisans and artists in their own right.) Maintaining great versatility throughout his career, Fantoni completed projects for public and private buildings, churches, schools, theaters, cinemas, and ships. His works, meanwhile, were collected by important museums worldwide. When Marcello Fantoni died in Florence in 2011 at the age of 95, his obituary in the Italian newspaper La Nazione hailed him “The master of beauty.” Museums and Exhibitions MoMA New York, Metropolitan Museum of Art of New York, Brooklyn Museum, Museum of Fine Art of Boston, Victoria and Albert Museum of London, Royal Scottish Museum of Edinburg, Museums of Modern Art of Tokyo and Kyoto, International Museum of Ceramics in Faenza, National Bargello Museum and Gabinetto Disegni e Stampe of the Uffizi in Florence. “Materia e colore, l’arte di Marcello Fantoni”, Loggia della Limonaia di Palazzo Medici Riccardi di Firenze, 2015 "Marcello Fantoni, A Beautiful Form with Beautiful Color", Archaeological Museum of Fiesole, 2005 "Ceramics as Art, Marcello Fantoni Ceramist and Sculptor", Salone delle Regie Poste, Florence, Marcello Fantoni’s work fused painting, Primitivism, tradition, Modern art, the revival of craft, and the base material of clay itself. Some aspects of Marcello Fantoni’s ceramics – their spikey and angular shapes, with their forms reduced to multiple flat planes of colour bordered by inscribed sgraffito lines – suggest inspiration from Cubist painters Pablo Picasso and Georges Braque. Publications Marcello Fantoni: Ceramista in Firenze Dal 1929 by Antonio Paolucci, Edizioni della Bezuga, 1999 Marcello Fantoni, Ceramica come Arte, Published by Octavo, 2000 Marcello Fantoni Mostra al Museo Archeologico di Fiesole Select Fairs where his work has been exhibited: 2017 Maison Gerard at The Salon Art + Design 2017, Maison Gerard 2016 Patrick Parrish Gallery at The Salon Art + Design 2016, Patrick Parrish Gallery 2015 Galleria Rossella...

Italian artist Marcello Fantoni ceramic bottle vase is glazed stoneware made circa 1970s. This piece was acquired directly from the artist by the seller, who was a personal friend of...

A Regency ebonised and parcel-gilt armchair, with lyre back and Bargello flame stitch upholstery.

Amazing Mercury sculpture in bronze H: 190cm 20th century Lost wax and patinated bronze reproduction of the Mercury sculpture by Giambologna. The ...

Marcello Fantoni (1915 - 2011) was born in Florence, Italy. With a vast career in the arts showcasing his talent in sculpture, ceramics, metalwork, multi-media and even designer, Marcello Fantoni's work was exhibited in the MoMA New York; Metropolitan Museum of Art of New York...

Still Life is an original photo-lithograph artwork realized by the Italian artist Luigi Bartolini in 1942 ca. Signed on the plate and dated. Very good conditions. The artwork represents still life, created by quick and confident strokes. masterly expressed through well-defined hatching of the objects Luigi Bartolini (Cupramontana, Ancona, 1892 – Rome, 1963) was a famous Italian engraver, painter, and writer. Through his etchings, which often accompany his writings, the artist led a research on light and on the signs of expressionist intonation. Among the literary works: Ladri di Biciclette (1946); Il mezzano Alipio (1951); Racconti Scabrosi (1963). Only after World War I, he dedicated himself entirely to engraving, achieving his first success in 1932 at the Italian engraving exhibition in Florence...

A wonderful French 19th century Louis XVI st. Ormolu, Patinated Bronze, and Black Belgian marble statue of 'La Fortuna'. Fortuna is raised on a mottled black Belgian marble pedestal ...

An Incredible and Quite Large Italian Patinated Bronze Figure of Jupiter, After Benvenuto Cellini (1500–1571), Cast by Fonderia Ferdinando Marinelli, Florence. This large bronze fig...

TERRACOTTA BUST OF DESIDERIO DA SETTIGNANO 21th Century Bust in terracotta, copy of a bust of Desiderio da Settignano, sculptor of the 15th century in Florence (1430-1464). Terracot...

An oil on canvas painting of Donatello’s Saint George of England. A side profile of Donatello’s marble sculpture of Saint George. The sculpture stands amongst fourteen others commis...

Ceramic vase by Marcello Fantoni. Signed and with original label. Biography Marcello Fantoni was born in Florence on October 1, 1915. Growing up, he became passionate about art, and...

- Rare child's armchair or possibly a sample made when large country houses were being remodeled in the Baroque taste towards the end of the 19th and beginning of the 20th century. ...

Head of Verrocchio's David – Probable Portrait of Leonardo (21st Century) Verrocchio likely portrayed Leonardo as a young man, his most illustrious pupil being Leonardo da Vinci (An...

A stunning and high quality true pair of French 19th century Louis XVI st. patinated Bronze, Ormolu and Gris St. Anne marble statues of Mercury and Fortuna, after a model by Louis Gu...

“Italian Sketches, Oct, Nov and December 1894” – Grand Tour Architectural Sketchbook Italy and France, 1894 Fully bound in leather Height 31 cm , width 26 cm, depth 3 cm Crafted in ...

A signed studio pottery lamp by iconic Italian ceramicist Marcello Fantoni, crafted in the 1950s. This striking midcentury piece features a flared, tapering form with hand-painted st...

An unusual and highly decorative Italian 19th-century patinated and gilt-bronze sculpture of Flying Mercury, after the celebrated Renaissance model by Giambologna (1529–1608) on acry...

An antique Florentine copy of a self-portrait by Peter Paul Rubens (1577-1640) painted by F. Flor for Flor & Findel, early 19th century. The portrait is framed in the original c...

Green serpentine marble sculpture Late 19th century Height approx. 88 cm. The flying mercury and the bronzes While he was still busy working on the fountain in piazza Maggiore, the papal delegate Cesi asked Giambologna for a statue to be placed in the courtyard of the Archiginnasio, seat of the ancient and prestigious Bolognese university; he should have painted a bronze depicting the god Mercury with his index finger stretched towards the sky, a symbol of the divine origin of knowledge, which would have served as a warning to all students. The project was never completed, but Giambologna elaborated a model preserved at the Civic Museum of Bologna, which is only the first of the numerous bronzes with the same subject made by the artist, defined precisely as flying Mercury. In later versions, the sculptor transformed Mercury into a much more dynamic figure reaching upwards, as if ready to take flight, giving it an unprecedented freedom of movement and lightness. When he returned to Florence, the sculptor certainly proposed it to the Medici, who enthusiastically immediately ordered one to be sent to Emperor Maximilian II of Habsburg, as a diplomatic gift for the ongoing negotiations of the wedding between Francesco and Giovanna, sister of the sovereign. Giambologna replied with the two bronzes preserved in Vienna and Dresden and in 1580 cast the large Mercury now exhibited in the Bargello, originally intended for the loggia of the villa of Cardinal Ferdinando dei Medici to crown a fountain placed in the center of a magnificent decorative complex; the only variant with respect to the previous examples is constituted by the head of Zephyr placed under the foot of the god and from which a breath of wind blows it upwards, accentuating the sense of immateriality. In addition to the successful invention of the flying Mercury, Giambologna acquired immense fame by making numerous other bronzes for the Florentine collectors of the time; his first patron, Bernardo Vecchietti must certainly have owned many, given to him in part by the sculptor in exchange for his protection, but around the 1880s it can be said that there was no collector who did not aspire to own a work by Giambologna, especially those of small format. The development of this trend in Florence is largely due to the artistic passions of the Grand Duke Francesco I, who with the creation of environments such as the Studiolo in Palazzo Vecchio and the Tribuna degli Uffizi, provided new criteria for the exhibition of the works, pushing all collectors to imitate his extraordinary collection. In the Studiolo, in addition to the painted tables that decorated the doors of the cupboards filled with all kinds of things, there were 8 niches containing bronze figures of divinities; Giambologna painted the one depicting Apollo (1573-75), with the characteristic serpentine pose and beautifully finished. The placement of the statuette in the niche was no longer an impediment to the plurality of views as Giambologna endowed it with a sort of mechanism that allowed it to rotate. For the Tribune he instead created the six Labors of Hercules (1576-1589), small silver sculptures...

Vintage tapestry on canvas depicting natural landscape with wildlife. Complete with wooden frame, can be used as a decorative panel or sliding door. Great decorative impact. Origin J...

The GFM armchair is an icon of the Polish design of the PRL period. The famous armchair was designed in 1962 by the Polish interior designer and furnitur...

The sculpture, inspired by one of Donatello's masterpieces, depicts the warrior St. George, watching what is happening, nervous but focused and ready to take action. He represents a ...

Needlepoint rugs were created using the traditional needlework weaving technique that is used to make everyday items from furniture to carpets and artwork. However, it has a fascinating history both as a hobby and as an industry. When many people think of carpets, they think of pile carpets or flat weave kilims, but needlepoint has also been used to create beautiful carpets. These carpets are durable and an important part of carpet history. Archaeologists and scholars consider the roots of needlepoint to have been around 1500 BC. They consider the first needlepoint to include the fine diagonal stitches that were used to sew tents together by the ancient Egyptians. The art eventually evolved into tapestry weaving. However, a tapestry weaving differs significantly from needlepoint in that it uses a loom and vertical warp. Tapestry weaving is closer to the weaving of kilims and pile rugs than canvas work. However, some still include tapestry weaving in the category of needlepoint because of the fine work that appeared during the late Renaissance. It can have a similar appearance to the untrained eye. Technically, tapestry weaving and needlepoint are not the same, and they do not use the same technique. The first actual needlepoint rugs and needle-points began to appear in the late Renaissance. Needlepoint is worked by creating stitches on a stiff canvas. The canvas is typically made from jute or linen and is quite durable. Pieces from the Renaissance were used to cover footstools, chairs, pillows, bed headboards, and other furnishings. They were also used as table coverings and wall coverings. You could also find them on many small items such as purses, shoes, and various adornments for clothing. During the Renaissance, the craft reached a high level of skill, and the designs became incredibly detailed and realistic. They mimicked many of the subjects and styles of famous paintings of the time. They created florals, still life designs, scenes, and geometric tiled pieces. Some of them mimicked the designs found in Persian Carpets. Needlepoint reached its peak popularity in the 19th century when it was considered a proper occupation for a lady. Needlepoint and embroidery held a similar place in societal status at the time. During this time, the work became finer, with some of the canvas reaching a high level of detail. The level of detail is determined by counting the number of mesh in an inch. During this time petit point by French needlewomen could have a mesh count as high as 45 mesh. This allowed women to create highly intricate designs with incredible levels of detail. It is possible to find many antique pieces of needlepoint besides rugs. Needlepoint rugs were popular in France and Spain, where the technique was adapted to create highly intricate designs that mimicked the designs in architecture and fashion. They were popular because they were durable, and it could be fashioned into a variety of items. The canvases themselves were durable, and the wool that they used was also strong, which means that many of the pieces were able to withstand daily use. We have many artifacts that have survived from this time period. Needlepoint rugs are important collectibles because they are different from the pile rugs and kilims that are typically found on the market. Needlepoint carpets are special because they take many hours to create, especially larger works. Needlepoint pieces of any type became popular throughout Europe during the 19th century. It is still a popular hobby today, but perhaps one of the most interesting stories is that of the Portuguese needlewomen of Arraiolos. The story of these women and their beautiful carpets begins in 1492. Needlepoint was a popular occupation in Spain, which had a large population of Moors and Jews. They were an integral part of Spanish culture. However, in 1492, Queen Isabella of Spain issued a proclamation that gave these ethnic groups the order to pack their bags and board ships headed...

Italian artist Marcello Fantoni ceramic vase is glazed stoneware made circa 1970s. This piece was acquired directly from the artist by the seller, who was a personal friend of Marcel...

Art Nouveau walking stick. The knob is made of finely carved boxwood, depicting a representation of Ceres (Demeter for the Greeks), the Roman Goddess of cereals, crops and the fertil...

THE BATTLE OF THE CENTAURS - MICHELANGELO BUONARROTI - PLASTER CAST early 20th Century Large ancient bas-relief reclaimed in plaster cast, 1:1 reproduction of the Battle of the Cent...

A wonderfully designed, beautifully colored multi glazed ceramic/pottery stoneware pillow vase/vessel/sculpture by Mid-Century Modern Italian ceramics...