Skip to main content

2,429 results for "european painted antiques"

9
2,278
107
44
to
386
1,414
902
2,429
2,350
2,395
125
95
78
76
75
71
58
56
54
40
33
30
29
23
21
16
14
12
249
1,093
936
151
439
234
92
68
29
74
42
22
34
38
18
23
14
1,227
716
538
435
421
1,954
343
233
199
197
16
11
9
9
8
19th Century Victorian Period Black Painted Tole Pedestal Coal Scuttle
Located in Petworth,West Sussex, GB
A stunning 19th century black painted octagonal English tole coal hod or scuttle with hinged lid. The entire box is painted in a glossy black and the top and front are decorated with...
Category

Antique 19th Century British Victorian Painted Furniture

Materials

Paint

19th Century Victorian Period Black Painted Canterbury or Magazine Rack
Located in Petworth,West Sussex, GB
A Victorian period, late 19th century ebonised or black painted Aesthetic three division Canterbury or magazine rack standing on turned feet ...
Category

Antique Late 19th Century British Victorian Painted Furniture

Materials

Brass

American Unique Antique Handcrafted "Children's Celebration" Wood Bench, 1905
Located in South Burlington, VT
This is a unique and original beautifully hand-incised hand painted settle or bench signed and dated 1905. This unique work of art is hand-incised using a pyrographic (pyrography) wo...
Category

Early 20th Century American Arts and Crafts Painted Furniture

Materials

Wood

19th Century Wood Herb Jar with Original Paint
Located in Troy, MI
Tall lidded wood herb jar found in Italy, circa 1890s. Pedestal base, turned wood vessel with tall lid and original painted finish. Three jars currently avail...
Category

Antique 19th Century European Jars

Materials

Wood

LOVELY ANTiQUE CHINESE CHINOISERIE LACQUERED & HAND PAINTED SIDE LAMP WINE TABLE
Located in GB
Royal House Antiques Royal House Antiques is delighted to offer for sale this exquisite hand made in China Chinoiserie painted and lacquered side table Please note the delivery fee...
Category

Early 20th Century Chinese Chinoiserie Furniture

Materials

Wood

Antique French Savonnerie Carpet
Located in Closter, NJ
Under the direction of Pierre Dupont and Simon Lourdet carpet production commenced in France in the early 17th Century. In 1608, a workshop was set up in the Louvre, followed by the ...
Category

Antique Late 19th Century French Aubusson Western European Rugs

Materials

Wool, Cotton

Italian Hand Painted Japanese "SATSUMA" Vase Print
Located in Scandicci, Florence
Extra large art print of a Japanese "SATSUMA" vase. Printed by hand on engraving paper with an antique star press. Completely hand-colored by our skil...
Category

21st Century and Contemporary Italian Prints

Materials

Paper

Antique Aubosson/Gobelein wall carpet, France 17th century. Verdure motif, silk
Located in Berlin, DE
Antique Aubosson/Gobelein wall carpet, France late 17th century. Verdure motif, silk Antique Musael Aubosson tapestry made of silk and partly wool. Very fine and antique design. Dep...
Category

Antique Late 17th Century French Western European Rugs

Materials

Wool, Silk

Antique Silk Aubosson wall carpet, France late 19 century. Verdure motif, signed
Located in Berlin, DE
Antique Silk Aubosson wall carpet, France late 19 century. Verdure motif, signed Antique Musael Aubosson tapestry made of silk and partly wool. Very fine and antique design. Depict...
Category

Antique Late 19th Century French Western European Rugs

Materials

Wool, Silk

Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
By Aubusson Manufacture
Located in Madrid, ES
Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...
Category

Antique Early 18th Century French Baroque Western European Rugs

Materials

Silk, Wool

French Antique Aubusson Rug, with Medallion and Floral Pattern
Located in Long Island City, NY
Handwoven in wool, this 12x14 French Antique Aubusson rug features a play of medallion and all over style with floral patterns particularly acanthus motifs, the curvaceous garlands i...
Category

Antique 1780s French Aubusson Western European Rugs

Materials

Wool

Antique Aubusson Flatweave Floral Square Rug in Cream and Pink
Located in Long Island City, NY
Handwoven in wool circa 1890-1900, this 17x17 antique Aubusson flatweave and square rug is a rare turn-of-the-19th-century masterpiece. Its design features rich red, pink and brown a...
Category

Antique 1890s French Aubusson Western European Rugs

Materials

Wool

Antique French Needlepoint Rug in Beige with Floral Patterns, from Rug & Kilim
Located in Long Island City, NY
Handwoven in wool, circa 1920-1930, this 7x10 antique French Needlepoint rug, features a beige field with taupe notes, and floral patterns in red and green. On the Design: Connoi...
Category

Vintage 1920s French Western European Rugs

Materials

Wool

Nazmiyal Collection Antique French Aubusson Rug. Size: 17 ft x 18 ft 5 in
Located in New York, NY
Beautiful Large Square Size Antique French Aubusson Rug, Country of Origin: France, Circa Date: Mid 19th Century. Size: 17 ft x 18 ft 5 in (5.18 m x 5.61 m) This magnificent antique french Aubusson carpet stands out as an exquisite piece for the collector of mid 19th century antiquities. The first thing that stands out is its striking use of color with bright reds and ivories against a dark background. This is only one of the many features that stands out about this impressive piece. This impressive antique French carpet was produced by the carpet works of Aubusson, France using traditional techniques that allowed them to produce antique carpets that were some of the finest in the world. The carpet features a garden lattice...
Category

Antique Mid-19th Century French Aubusson Western European Rugs

Materials

Wool

Antique Dutch Art Deco Rug in Beige Open Field with Floral Border by Rug & Kilim
Located in Long Island City, NY
This antique 10x16 Dutch Art Deco rug is the rare new addition to Rug & Kilim’s repertoire of classic curations. Hand-knotted in wool circa 1920-193...
Category

Vintage 1920s Dutch Art Deco Western European Rugs

Materials

Wool

19th Century English Regency Painted Serving Table
Located in Southampton, NY
19th century English Regency painted serving table.
Category

Antique 19th Century European Regency End Tables

Superb Antique European Paint Decorated Mirror
Located in Bridgeport, CT
A large and very decorative Antique Mirror with hand-carved Flowers, Grape Vines with Leaves and Grape Clusters which fully surround the fra...
Category

Antique 19th Century European Belle Époque Floor Mirrors and Full-Length...

Materials

Wood

Handmade Carpet Vintage Aubusson Rug 1980 French- Red and Beige Wool Rugs
Located in Hampshire, GB
Light up your interior floors with this handmade carpet high-quality Vintage Aubusson rug, with a central medallion design- hand-woven in 1980 with hand-spun, vegetable-dyed wool and...
Category

1990s French Aubusson Western European Rugs

Materials

Fabric, Wool, Cotton, Organic Material

Painted European Armoire
Located in Wilson, NC
The door of this armoire has three raised panels. The top panel is carved with a fan in high relief. The center panel is painted with floral decoration. The lower panel has carved stopfluting. The corners are rounded and have fans painted...
Category

Antique 1830s European Wardrobes and Armoires

Materials

Brass

Large European Antique Carved Painted Silver Gilt Religious Altar Niche
Located in Forney, TX
A large one-of-a-kind European antique hand carved polychrome painted silver-gilt religious altar niche with beautifully aged warm distressed patina. ...
Category

Antique Late 19th Century European Gothic Revival Sculptures and Carvings

Materials

Wood, Pine, Paint, Glass

Origin 000017 Cement Vase
By POLCHA
Located in PARIS, FR
Cement is a raw material that inspired us a lot. We worked on a trompe l'oeil in order to imagine a piece of assembling different stones. Each phase follows the rules of superposit...
Category

20th Century European Modern Vases

Materials

Cement

Painted Central European Armoire
Located in Wilson, NC
The door of this armoire has two molded panels with floral painted decoration. The steel keyhole escutcheon is original. The interior has four fixed shelves.
Category

Antique 1830s European Wardrobes and Armoires

Materials

Brass

Painted European Blanket Chest
Located in Wilson, NC
The front of this pine blanket chest is painted with floral panels and the date "1864". The inside has a candlebox.
Category

Antique 1860s European Blanket Chests

Materials

Steel

Painted European Armoire
Located in Wilson, NC
This armoire is from Central Europe and retains its original large engraved strap hinges and keyhole escutcheon. The arched door is painted with a classical urn filled with flowers i...
Category

Antique 1840s Austrian Wardrobes and Armoires

Materials

Steel

European Painted Armoire
Located in Wilson, NC
European painted armoire has floral painted panels surrounded by deep carved moldings. The sides have a deep chamfer. The cornice and base are detacha...
Category

Antique Early 1800s Belgian Wardrobes and Armoires

Materials

Steel

Maria Astadjov Modern Abstract Painting on Aluminum "Bring on the Night", 2020
By Maria Astadjov
Located in Montreal, QC
Modern abstract, mixed-media on Aluminum painting; titled “Bring on the Night” by Maria Astadjov, a conceptual fine artist. Signed on front bottom right; measuring approx. 35" H x 31...
Category

2010s Canadian Modern Paintings

Materials

Aluminum

Maria Astadjov Modern Abstract Painting on the Edge of Someone Else's Dream 2018
By Maria Astadjov
Located in Montreal, QC
Modern abstract, mixed-media painting; titled “On the Edge of Someone Else's Dream” by Maria Astadjov, a conceptual fine artist; mixed-media on Aluminum; Signed on front bottom right...
Category

2010s Canadian Modern Paintings

Materials

Aluminum

Maria Astadjov Modern Abstract Painting Titled “Brighten up My Day”, 2017
By Maria Astadjov
Located in Montreal, QC
Modern abstract, mixed-media painting, titled “Brighten up My Day” by Maria Astadjov, a conceptual fine artist; mixed-media on Aluminum; Signed on front bottom right; measuring appro...
Category

2010s Canadian Modern Paintings

Materials

Aluminum

Contemporary Italian Pineapple Hand-Colored Print Collection 2 of 2
Located in Scandicci, Florence
Hand-colored print entirely made in Florence by master craftsmen using an antique press and artisanal paper and showing a pineapple. Another print repr...
Category

21st Century and Contemporary Italian Prints

Materials

Paper

Contemporary Italian Pineapple Hand-Colored Print Collection 1 of 2
Located in Scandicci, Florence
Hand-colored print entirely made in Florence by master craftsmen using an antique press and artisanal paper and showing a pineapple. Another print repr...
Category

21st Century and Contemporary Italian Prints

Materials

Paper

1856 U.S. Coast Survey Map of Chesapeake Bay and Delaware Bay
Located in Colorado Springs, CO
Presented is U.S. Coast Survey nautical chart or maritime map of Chesapeake Bay and Delaware Bay from 1856. The map depicts the region from Susquehanna, Maryland to the northern Oute...
Category

Antique 1850s American Maps

Materials

Paper

Central European Painted Stepback Cupboard
Located in Wilson, NC
This cupboard has weathered green paint throughout with geometric and floral designs painted on the front. The lower doors have recessed panels with ba...
Category

Antique 1830s European Cupboards

Materials

Glass, Pine, Paint

Tolix 'Genuine' Vintage Steel Dining Chairs C1950's Hundreds to Choose from
Located in Chicago, IL
Authentic European Tolix chairs with their original gold TOLIX labels. We have over (1500) Tolix chairs, stools and tables in stock, new and vintage Tolix. This set of (4) are near-m...
Category

Vintage 1950s Dutch Art Deco Side Chairs

Materials

Steel

Antique European Full Size French Painted Cane Bed
Located in Brea, CA
Antique cane bed 47”w x 82”d x 43”h Footboard:20”h Inside: 45”w x 78”d Painted in a french dove gray, with beautiful carved roses, and french cane headboard...
Category

Antique 19th Century Beds and Bed Frames

Materials

Cane, Wood

Northern European Neoclassical Painted Antique Pier Mirror, 19th Century
Located in Shippensburg, PA
NEOCLASSICAL POLYCHROMED AND PARCEL-GILT PIER MIRROR Northern European, circa late 19th century Item # 307PMQ13Q Featuring a rectangular elongated form of gilded molded-gesso borde...
Category

Antique 19th Century European Neoclassical Wall Mirrors

Materials

Gesso, Paint, Giltwood, Glass

Long Painted Central European Rack
Located in Wilson, NC
The front of this rack is painted overall with various floral and leaf motifs.
Category

Antique Early 1900s European Coat Racks and Stands

Materials

Pine, Paint

Central European Painted Blanket Chest
Located in Wilson, NC
The front and top of this blanket chest have the original blue paint. There is exposed dovetailed construction on the sides that terminate in the original bun feet.
Category

Antique 1840s European Blanket Chests

Materials

Brass, Steel

Antique Blue & White Chinese Large Lidded Temple Jar Vase Antiques Los Angeles
Located in West Hollywood, CA
Important 1st quarter 19th century Circa 1800-1825 blue & white Chinoiserie China lidded temple jar Antiques depicting chrysanthemums flowers and leaves . Chrysanthemums, which symbolize happiness and vitality, are a popular autumn flower in China and carry special significance during lunar new year celebrations. Since ancient times, people have drunk wine from mums' fermented petals. It has Fu-dog Mask handles all around. Then on the Lid has a handle in the form of a fu-dog finial Antique...
Category

Antique Early 19th Century Chinese Porcelain

Materials

Ceramic

18th Century Style European Painted Panels
Located in Bradenton, FL
A pair of Continental, early 20th century floral painted lacquered panels. Framed in carved Dutch style gilt and ebonized frames.
Category

Early 20th Century European Baroque Paintings

Materials

Paint

1802 Dated Huge Antique Original Paint European Blanket Chest Coffer Trunk
Located in GB
We are is delighted to offer for sale this stunning, extra large circa 1802 dated aqua blue hand painted European clothes trunk or marriage coffer chest I have recently purchased ...
Category

Antique Early 1800s European George III Trunks and Luggage

Materials

Pine

Central European Painted Cupboard
Located in Wilson, NC
Central European painted cupboard, the front is faux painted to simulate wood. It has the original floral and bird depictions on the front stiles and a floral swag on the center of the raised panel door. The door has a very fine mesh round screen...
Category

Antique 1850s Belgian Cupboards

Materials

Pine, Paint

PAIR OF VINTAGE DESK LAMPS 20th Century Europe
By Europa Antiques
Located in Madrid, ES
PAIR OF VINTAGE DESK LAMPS 20th century Europe, in painted and silver metal. Electrified. Dim.: 26 X 15 cm. original conditions
Category

Mid-20th Century European Modern Table Lamps

Materials

Metal

European Painted Wood Coat Of Arms
Located in Essex, MA
Featuring a pair of winged griffons flanking a coat of arms with helmet.
Category

Antique Early 19th Century European Arms, Armor and Weapons

Materials

Wood

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest, the top has a nice warm patina with remnants of the original paint which is typical for ...
Category

Antique 1880s Romanian Blanket Chests

Materials

Steel

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest, the front with painted stylized flowers and rosettes , interior with original candle box...
Category

Antique 1890s Romanian Blanket Chests

Materials

Steel

Extra Large Antique Original Paint European Blanket Chest Coffer Trunk c. 1800
Located in GB
We are delighted to offer for sale this stunning, extra large circa 1800 hand painted European clothes trunk or marriage coffer chest with Acanthus leaf painting. I have recently purchased a very large collection of these original, antique painted wardrobes...
Category

Antique Early 1800s European George III Trunks and Luggage

Materials

Pine

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest, the back portion of the top retains remnants of the original paint decoration (similar to the front of the piece), the front portion of the t...
Category

Antique 1880s Romanian Blanket Chests

Materials

Pine, Paint

Painted European Three-Drawer Chest
Located in Wilson, NC
Painted European three-drawer chest, the top is faux painted to simulate herringbone banding. There are two floral cartouches on the top and each of the three drawers, dated 1900 on ...
Category

Antique Early 1900s German Commodes and Chests of Drawers

Materials

Brass

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest, likely from the region of Austria or Germany; the top has a beautiful patina with remnants of the origin...
Category

Antique 1840s Austrian Blanket Chests

Materials

Steel

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest , the sides are painted a solid dark brown with a serpentine shape cut out at the bottom; the front and t...
Category

Vintage 1920s Romanian Blanket Chests

Materials

Steel

Central European Faux Painted Chest
Located in Wilson, NC
Central European faux painted chest is faux painted to simulate flame grained mahogany.
Category

Antique 1830s German Commodes and Chests of Drawers

Materials

Brass

Central European Painted Blanket Chest
Located in Wilson, NC
This Central European painted blanket chest has the original shaped rat tail hinges inside the lid. The top has a natural pine f...
Category

Antique 1840s Romanian Blanket Chests

Materials

Steel

Central European Painted Blanket Chest
Located in Wilson, NC
Central European painted blanket chest, the top with breadboard ends, interior with candle box on the left side, the front is pa...
Category

Antique 1860s Romanian Blanket Chests

Materials

Steel, Tin

Antique Oval European Figural Landscape Oil Painting on Canvas 28"
Located in Dayton, OH
Antique oil on canvas painting of a forest landscape with the figures of children by a stream, surrounded by a painted gold ground suggestive of a mat; mounted on cardboard. 27.75” ...
Category

Antique Late 19th Century Expressionist Paintings

Materials

Canvas, Paint

Faux Painted Three Drawer European Commode/Chest
Located in Wilson, NC
This faux painted commode/chest has faux grain throughout. The top has a deep molded edge. The stiles have applied split turnings and terminate in bun feet. The hardware is later.
Category

Antique 1840s European Commodes and Chests of Drawers

Materials

Brass

European Painted Buffet Sideboard
Located in Westwood, NJ
Northern European style distress painted buffet sideboard with a molded edge rectangular top, one long and two small drawers in the frieze, with lozenge paneled doors and sides, antique pewter handles...
Category

21st Century and Contemporary Vietnamese Neoclassical Sideboards

Materials

Wood

European Provincial Painted Cabinet
Located in Westwood, NJ
A North European provincial painted cabinet in an antique 18th century style with a distressed grey painted finish. A cabinet of grand size and scal...
Category

21st Century and Contemporary Asian French Provincial Bookcases

Materials

Wood

River Landscape with Castle and Boats European School 19th Century
By Europa Antiques
Located in Madrid, ES
RIVER LANDSCAPE WITH CASTLE AND BOATS European School 19th Century oil on wood, 19th century European school Small defects. DIM.: 37 x 46 cm good conditions.
Category

Antique 19th Century Italian Baroque Paintings

Materials

Paint

Central European Faux Painted Cupboard
Located in Wilson, NC
This Central European faux painted cupboard has exposed double peg construction. The door has a recessed panel framed by beveled sides. The left hand side has three drawers which are...
Category

Antique 1830s Romanian Cupboards

Materials

Brass

North European Painted Library Bookcase
Located in Leamington Spa, Warwickshire
Early 19th C North European painted library bookcase with adjustable shelving. Great wavy glass in the glazed doors. 1820. Shelf depth in top...
Category

Antique Early 19th Century German Bookcases

Materials

Oak, Pine

Recently Viewed

View All