Berkshires - Decorative Art

This is a great African Gemsbok taxidermy shoulder mount. It is posed with the head in a semi-upright position looking to the animal's right side. This a elegant example of a mount o...

Wonderfully hand colored Neoclassical architectural prints in wooden frame, possibly Baroque or Rococo architectural buildings. No ap...

Set of 4 exceptional antique English botany prints, hand colored prints in Italian burl olive wood and gold leaf frames. Great wall decoration for the bedroom, bath or powder room. ...

The antique rustic paddle made of wood farm tool, possibly used in baking bread in large open fired ovens. Consider displaying it on a wall as a decorative piece in a country setting...

The vintage round mosaic tile plaque pictures a standing lion encircled by a classical rope pattern. The tile colors are charcoal grey, grey green, tan, soft pink and white. The mosa...

Marcel Dyf, French, 1899-1985, Moulin Rouge. Oil on canvas. Signed lower right Dyf. Dimensions: 23 ½ by 28 ½ in. W/frame 32 ½ by 37 ½ in. Marcel Dyf was born in Paris, October 7,...

The Chinese hand-painted decorative wall panel made of paper features a landscape with figures, buildings, trees and mountains and fine calligra...

The traditional Chinese decorative wall panel is made of paper which is attached top and bottom to wood poles and may be rolled up on the larger...

Jean Salabet French, 20th century Marche aux Fleurs de la Cite Oil on canvas: 10 ¾ by 13 ¾ in. with frame 15 ½ by 18 ½ in. Jean Salabet was a School of Paris painter know f...

Jean Salabet, French, 20th century, Avenue de L'Opera. Oil on canvas. 10 ¾ by 13 ¾ in. with frame 15 ½ by 18 ½ in. Jean Salabet was a school of Paris painter know for his colorful ...

Gaston Sebire French, 1920-2002 Figures in a flowering garden Oil on canvas 25 by 31 in. With frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and Frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

Gaston Sebire French, 1920-2002 Landscape with figures Oil on canvas 31 by 41 ½ in. With frame 38 by 48 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and Frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...