Islamic Wall Decorations

Discover this magnificent orientalist watercolor, dating from the end of the 20th century. This masterpiece captures the vibrant and mysterious essence of the Orient through soft col...

Francesco Ballesio (Italian, 1860-1923). A fine orientalist pencil and watercolor heightened with gum Arabic on paper figure of "A Middle-Eastern Beauty at Rest" depicting a young maiden resting on a Persian rug laid down as a bed while holding a tambourine and next to a Moroccan ivory-inlaid octagonal table with a tea pot on top. Signed and inscribed 'Ballesio Roma Tivoli' (upper right). All within an ornate rococo gilt wood and gesso carved frame with a protective glass, Rome, circa 1890-1900, Frame height: 23 inches (58.4 cm). Frame width: 30 1/2 inches (30.5 cm). Frame depth: 2 1/4 inches (5.7 cm). Paper height: 15 inches (38.1 cm). Paper width: 21 1/2 inches (54.7 cm). Literature: A similar subject matter watercolor is catalogued and illustrated in Caroline Juler, "Les Orientalistes...

Floral Bolinpush suzani textile from Central Asia Uzbekistan, Early 20th Century Length 161cm, width 161cm Exquisitely handcrafted and embroidered in the early 20th century, this Bolinpush suzani hails from the historic town of Samarkand, Uzbekistan. The textile’s design centres on a petite marigold bloom, with larger, similar forms alternating between rich maroon and marigold shades emanating from it. Surrounding these are abstract, symmetrical black floral motifs within a maroon border, complemented by repeated black and maroon patterns. The suzani is framed by embroidered borders in maroon and cream, before ending in a striking, black-coloured textile edge. Bolinpush suzanis are culturally significant textiles, traditionally used during Central Asian weddings...

Discover this magnificent orientalist watercolor, dating from the end of the 20th century. This masterpiece captures the vibrant and mysterious essence of the Orient through soft col...

Limited edition silverplated metal plaque depicting lovely Islamic calligraphy after the original by the celebrated Turkish calligrapher, Mahmud Celaleddin (?-1829), surrounded by c...

This antique handwoven prayer rug was made in what is now Turkey, and dates to circa 1750-1780. This rug is done in a background of pastel hues which accent the muted red central "Mi...

Dove Peace and Arabic Calligraphy purple and yellow oil on canvas painting framed. Hand painted of a women made of writing in Arabic calligraphy style design following a dove. From an Art Gallery in Manhattan Beach...

Antique Persian Iznik Qajar Style Ceramic Pottery Tile Hexagonal Blue Couple C5. Item features the original crac...

This 19th-century Ottoman metallic embroidery tapestry is a magnificent representation of the empire’s rich textile heritage, crafted with exceptional skill and artistry. The use of ...

This 19th-century Ottoman metallic embroidery tapestry is a magnificent representation of the empire’s rich textile heritage, crafted with exceptional skill and artistry. The use of ...

This exceptional hand-embroidered textile is inspired by the rich tradition of Ottoman embroidery from the 16th to 19th centuries, reimagined for the present. Created as a unique cen...

It is very rare to find a pair of antique "prayer" bed side carpets, from Kirshehir. Usually over the years they disperse... Their beautiful red c...

Museum-Quality Antique Middle Eastern Islamic / Bedouin Niqab Face Veil, Mid-20th Century, with Silver Coins & Amulets A rare and museum-quality iddle Eastern Islamic / Bedouin woman’s face veil (niqab), Egypt, circa 1920–1940. Traditionally worn by Bedouin women during weddings and ceremonial occasions, this extraordinary piece represents the finest examples of tribal jewelry, textile art, and Middle Eastern embroidery. Design & Craftsmanship: * Worked on a base of fine red silk and cotton embroidery, richly adorned with antique Ottoman silver coins. * Heavily decorated lower edge with nickel silver amulets in the form of protective hands, believed to ward off the Evil Eye. * Intricate tassels, chains, add movement and texture. * Preserved in a custom lucite display box for protection and presentation. Cultural Significance: * These veils were more than garments; they were symbols of wealth, protection, and status within Bedouin communities of Egypt, Palestine, Sinai, and Negev. * Worn only during special events such as weddings and feasts, their ornate decoration distinguished them from the simpler everyday niqab. * Each veil reflects the identity of the tribe, with regional variations in embroidery, color, and adornment. Provenance & Literature: Comparable examples are documented in “Traditional Palestinian Embroidery...