New York - Wall Decorations

French Louis XVI (18th Cent) oil painting portrait of a lady in a blue dress with lace trim & flowers in her hair holding a book seated next to a large urn in a stripped carved frame...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

21st Century Black India Ink Drawings framed in Handmade Steel by Elliot Bergman They are heavily layered and distinctly textured. Bergman utilizes both traditional tools and foun...

Contemporary French artist Perrine Blaise paints on thin slices of wood. Weathered effect in shades of blue. Abstract shapes. Newly framed in white wood. Part of a collection of four...

A framed Indian ceremonial Hindu deity from the mid 20th century, hand-painted on canvas. Created in India during the midcentury period, this scene, hand-p...

Framed Oil on Canvas by Bernard Lamotte, of the Rue Saint-Éleuthère in Montmarte. Bernard Lamotte (1903 – September 28, 1983) was a Paris-born artist, illustrator, painter, and mural...

Copy of an impressionist landscape painting showing a large red barn in field

Copy of a portrait of a Dutch nobleman in ruffled collar

Pair of American Victorian style gilt framed oval oil painting portraits of man with mustache and lady in black lace Vintage condition

Copy of a Spanish Cubist still life painting titled "Nature Morte, 1913" showing an abstracted view of a cello, vase and architectural details Conditio...

Surreal hyper realistic trompe l'oeil oil painting by Latin American artist Victor Del Castillo. Peaches, grapes and cherries in rich brilliant colors and incredible detail. Measures...

Persepolis Inspired Design Antique Persian Tapestry / Textile #49022, Origin Country: Persia, Woven Around The: 1920’s

"Angelina Jolie - Obsession". Large photo print on aluminum by Felix von Altersheim. 2018. Open edition. Signed by artist. Atelier Ost Galerie Munc...

Stunning Modernist Abstract Ecuadorian Tapestry / wall hanging designed by Olga Fisch.... Of Hungarian origin, Olga Fisch (1901-1991) emigrated in...

A stunning pair of vintage hand painted Moroccan spice shelves or racks. The shelves are finely hand painted featuring fine moorish and arabesque motifs, painted in Green and decorat...

Mid-Century tapestry designed by Mario Prassinos (1916-1985) and woven at Atelier Suzanne Goubely-Gatien in Aubusson, France. Hand woven in wool, it dates to 1965 and entitled "Troil...

Antique Chinese rug, room size, circa 1920. A one-of-a-kind antique Chinese oriental carpet, hand-knotted with medium thickness wool pile. This beautiful hand-knotted rug features f...

English (19th Cent) Pre-Raphaelite style gold framed oil painting on board of classical dressed lady holding urn by round window (signed H. RE...

The Rumi collection master weavers artfully re-spin and hand-knot the finest remnants of sustainable sari-silk to create the breakthrough Rumi Silk collection. These remarkable patte...

Hand-picked by buyers at Ann-Morris Inc.

early 20th century Persian Worn Room Size Antique Tabriz Rug 10'3'' x 13'2''

Design: Helmut Schäffenacker original vintage ceramic wall plate with abstract hand-painted and colorful abstractact design. This fantas...

An antique Indian Mughal Empire miniature painting executed in gouache and embellished with gold on paper, portrays a captivating court scene wherein a ruler engages with nobles. The...

ASTRONOMICAL BLACKBOARD (G.149), 1978, etching, signed in pencil, from the numbered edition of 11/15 AP image 17 ¾ x 35 ¾”, full margins Abstract Art , Pop Art Frame: 44"x27''

A beautiful example of English family portraits The family of baron Tollemache have owned Helmington hall in Ipswich, England for hundreds of years and served as knights and squir...

Triptych in acrylic of abstract geometric squares in cream and black in brushed metallic wooden frames, by Richard Rumi, "Asylum".     

Copy of a dog portrait titled "The Proud Victor" showing a Terrier standing over a vanguished rodent

Hand-picked by buyers at Ann-Morris Inc.

French shepherdess at twilight by Jean Beauduin (1851-1916). Oil on canvas mounted on board. Original Barbizon frame. I believe the dog is a bergere Picard. The bergere Picard or Picardy Shepherd is a French herding originating in Picardy. These dogs nearly became extinct after both World War I and World War II and remain a rare breed Jean Beauduin was a painter, draughtsman and illustrator of genre scenes, portraits and landscapes. He received his artistic training at the Academy of Antwerp. He moved to Paris shortly afterward. He exhibited at the Salon des Artistes Francaises as well as many expositions in the US and Europe. # collection collector american large carved paris rome new york salon important provenance historical fine not signed. museum original unique rare # American Russian figure landscape portrait old master impressionist sheep...

1965 oil painting on Canvas by Gordon Russell, American (Born 1932). Titled "Fashions I", Dated 1965. Framed in a windowed glass and gilt wood frame. Provenance: From a New York C...

Dancing with my Shadow by Courtney Kinnare 2024 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 30" These functional art pieces build a color story through multiple l...

Paul Poiret's career began in the Belle Epoque, when fashion was defined by imprisoning corsets, restrictive tailoring, and ethereal colors. Opening his own fashion house in 1904, he...

An antique Persian Heriz Karaja oriental rug, circa 1920, size 4'2 x 3'7. This handsome hand-knotted wool rug features a symmetrical series of central medallions on the uncluttered n...

A framed antique Japanese woodblock print with vibrantly colored examples of samurai armor. Five different images and patterns are shown in two rows, with kanji writing. Meiji Era ...

A framed antique Japanese woodblock print with vibrantly colored examples of samurai armor. Five different images and patterns are shown in two rows, with written descriptions in ka...

Italian Neo-classic style plaster wall plaque with painted faux porphyry scene of 3 figures within a white and gilt frame.

A vintage Persian Baktiari oriental rug, size 8'0" x 5'6", circa 1940. This brilliant handwoven wool carpet features a dynamic diamond-shaped medallion at center, surrounded by a var...

An antique Arts and Crafts leaded stained glass window panel offers central stylized floral and foliate element, seated in wood frame, c1920 Measures - 11''H x 22''W x 1.5''D. This s...

English Georgian (18/19th century) green painted and carved gilt wall plaque of coat of arms with unicorn & lion and broken pediment top.

In 1963, Danny Lyon spent time in a poor white area of Chicago called Uptown. Nicknamed ‘hillbilly heaven’, it was a very tough and deprived neighborhood. With a borrowed Rolleiflex camera, he followed the inhabitants of Clifton Street, where he befriended the families who lived there, documenting intimate moments both inside their homes and on the street. Three Young Men...

A wonderful depiction of a worker hanging from a crane at task. Art Deco buildings incorporated figural panels in their facades such as this exquisite bas reliefs sculpted by Chuck D...

Monica Perez "Let Go" (2) Original Acrylic Painting on Canvas, 2021. Dimensions include frame size. Monica Perez’s works are expressions of emotion—im...

This charming English needlepoint tapestry from Antique Rug Collection features a whimsical ring of blue elephants surrounded by bold red florals, white daisies, and playful green an...

Black and white photo of craftsmen preparing and assembling a boats skeletal system suspended from the beams and rafters to work all sides and underneath the boat. Looking on is a ge...

Copy of a portrait painting of a gentleman with a gold hoop earring and wearing a medal

This best-selling graphic wallpaper is available to order by the roll or sample—the perfect décor for kids, adult, your home or business. Samples a...

Hiroshi Sugimoto, Time Exposed, Seascape #338, IrishSea, Isle of Man, 1990 A mesmeric meditation on time through repetition and constancy, Hiroshi Sugimoto’s Time Exposed portfolio ...

Contemporary painting by Spanish artist Santiago Castillo. The artist was born in Madrid in 1970 and continues to live and work there. Santiago Castillo has exhibited in Spain and ...

Pair of antique classical French salon drawings. Charcoal on paper. Illegibly signed. In giltwood frames, early 19th century.  

Abstract modernist oil painting by Zoute dated 1953. Oil on Masonite. Zoute (born - Leon Salter - 1903-1976) was self-taught and well exhibited during his lifetime. He painted from 1...

This wall-covering with oversized pop art flowers is the perfect wallpaper for your child's room! Samples are available for $18 including US shipping, please message us to purchase....

Handpicked by Buyers at Ann-Morris Inc.

-Title: Coral Bestiary (Bestiaire Corail) -Dimensions: 155 x 255 cm; 5 x 8 ft -Aubusson tapestry woven at the Atelier Pinton The tapestry “Bestiaire Corail” by Jean Lurçat is a capt...

There's no better way to say welcome than with our pineapple wallpaper! Samples are available for $18 including US shipping, please message us to...

A late Qing Dynasty period giltwood architectural panel on red ground, with floral motifs, set in new frame. Delve into the rich tapestry of the late Qing Dynasty period with this gi...

Copy of Modern Abstract Expressionist painting showing black image on off white ground (Similar piece: NWL2663)

Josy (XX), Geometric Abstract Composition from Bora Bora, Painted Textile, signed lower right, unframed. 42" H x 65" W.

English Victorian gold framed oil painting portrait of lady with red flower in hair (as is)

The new exclusive series of limited edition collages by acclaimed American artist Mickalene Thomas comes in two series of 10 unique collage prints. Phaidon, Artspace, and Avant Arte...

American Country (18/19th Cent) oil painting of a woman wearing a black dress & a bonnet with a red bow in a gilt frame (relined canvas).