New York - Decorative Art

Antique Persian Heriz Karaja Oriental rug, size 5'7" x 4'9". An antique Persian Heriz Karaja oriental rug, size 5'7" x 4'9...

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...

an early 20th Century Persian Tabriz Small Room size rug Details rug no. j4677 size 7' 1" x 9' 10" (216 x 300 cm)

A worn square size late 19th century Lavar Kerman Rug with an all-over floral pattern on a pale green background Details rug no. j4794 size 9' 7" x 10' 10"

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...

Circa 1920 persian tabriz rug in greens and ruby red Details rug no. j1615 size 9' 4" x 11' 9" (284 x 358 cm)

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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 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...

Italian Renaissance style metal wall plaque of arms and armor displayed on a round shield back.

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...

A Japanese carved and painted wooden sign with a Samurai from the Meiji Period, 19th century. This 19th century sign with a samurai was made in wood and painted in Japan during the Meiji period. The narrow rectangular panel features a painted frame with a character depicted in the upper section, showcasing a seated samurai wearing his armour. The section below is adorned with four lightly carved and back painted calligraphies. This tall panel can be hinged thanks to two square buckles on the top. Made during the 19th century, this antique Meiji period painted wood sign...

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...

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...

English silk & gold thread embroidered ducal coronet oval a coat of arms on a scarlet velvet ground inside a molded ebonized frame.  

Courrèges silk scarf in excellent condition found in Paris, France. Features bold pop-art style colors and shapes with the Courrèges logo. Set in ...

Matched pair of bas-relief plaques in the neoclassical style crafted from molded plaster with terracotta patina, depicting a goddes among the clouds, surrounded by angels in flight.

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Pair of Antique intaglios newly framed on camouflage burlap.

Mid-Century Aubusson tapestry designed by Jean Picart Le Doux (1902-1982) and handwoven at Atelier Pinton in Aubusson France. Woven in the mid-1960s, entitled "Autumn-Hiver", it depi...

A tapestry by French artist J.L Viard for Murmure des Sylves. Tightly woven wool and wool blends. Signed on the front and again the reverse tag with an edition 21 of 100.

An antique carved teak architectural panel from the 19th century, with floral and foliage décor. This antique carved teak architectural panel from the 19th century captivates with it...

Bezalel brass plaque depicting a Jewish elder next to the Western Wall, made in Jerusalem, circa 1920, bearing a small metal label engraved "Bezalel Jeru...

English Renaissance silk & gold thread embroidered ducal coronet oval a coat of arms on a scarlet velvet ground inside a molded ebonized frame (fraying to embroidery)

A beautiful set of four (4) Swedish nautical porcelain plates by Rörstrand, circa 20th century, Sweden. Plates are nautical themed with antique sailing ships...

3-Piece French Louis XV style (19th cent) bronze dore vanity set composed of 2 brushes and 1 hand mirror with handles (priced as set).  

Accent size tabriz persian rug in blue. circa 1930 Details rug no. j3939 size 4' 4" x 5' 10" (132 x 178 cm)

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American Country style (20th Century) copper steam engine wall plaque with 3 wheels.

An Indian vintage framed still-life of vertical format from the mid-20th century, with white, orange and blue flowers topped with calligraphy. Born in India during the mid-20th centu...

American Country style (19th Century) painted diorama wall plaque with clipper ship and American ship painted on back in mahogany frame encased in a wood and glass case.

Rattlesnake skin (likely a Diamondback, based on its pattern) mounted via brass studs to a painted blue plank, circa 1950s. The metal brackets, which house the wire, show natural rus...

English Victorian Country painted diorama wall plaque of clipper ship with red flag painted in cloudy sky in mahogany frame.

Contemporary mixed media circular wall sculpture of hand crafted thermoplastic shapes mounted to a white painted wooden panel under an opaque lens (NATALE CREE ADGNOT)

Midcentury tapestry designed by Rene Perrot 91912-1979) and woven at Atelier Riviere des Borderies in Aubusson, France. Handwoven in wool, it dates to 1946...

Exceptional artisan wall sculpture in bronze and copper with hand-painted red enamel by Silas Seandel, American 1970's (signed on back "Silas Seandel"). This is a fine example of Sil...

17th Century Flemish Garden tapestry depicting a serene countryside landscape. Woven in wool and silk, this tapestry displays an exquisite sense of artistry and depth. Two charming animals are depicted in the foreground surrounded by lush foliage revealing a view towards the formal gardens...

Rustic style American long horn steer wall plaque mounted on a mahogany keystone shaped backing.

American mid-century oval shaped metal wall plaque map of the world with gold continents in relief against a black grid.      

Pair of English Victorian (19/20th century) brass horse racing wall plaques with walnut frames.  

American Victorian clear and blue trimmed beaded glass bell pull with white opaline pull

Asian Chinese paper scroll in a plexiglass case.

American Modernist Mid-Century ceramic art platter / wall plaque featuring a beige composition of 3 male figures and a boarder of fishes against a periwinkle glazed color background ...

Japanese Noh Theater Ko-Omote Mask, Early 20th Century DIMENSIONS: Height: 8.5 inches Width: 4.5 inches Depth: 3 inches ABOUT A finely carved and painted Ko-Omote mask used in trad...

Rustic Continental Black Forest (19th Century) carved walnut wall plaque of game animal.

Fascinating molded fiberglass bull fight by renowned mid-century artist J. Segura. A three dimensional casting jumps off the wall and adds a vivid sense of adventure and excitement t...

Possible signature of Jan Jansz van der Laen.

Inscribed on back 'The Gwynant in Wales', also impressed 'Copeland'. Signed in front lower left 'W Yale' (William Yale b. 1843). Size of plaque 16 x 24.

Stunning vibrant red feathered wall hanging. Other colors to choose from. Measures: 30" diameter x 6" deep. Andrianna Shamaris. The Leader In M...

3 Asian Chinese style embroidered wall hangings with gilt faux bamboo frame and floral and bird design with pink border (PRICED EACH)

A pair of hand-painted linoleum floor tiles with 1950's cowboy and Indian motifs. Measures: Cowboy is 12.5" W x 16.5" H Indian 12.75" W x 11" H.

1867 Indian patchwork colorful textiles in a custom wood frame Image size 18.5x34.5"

E. La Fontaine (French, XIX) Hand-Painted Porcelain Charger, late 19th century, depicting a medieval archer and a maiden on a castle rampart, signed "E. La Fontaine", ebonized molded...

An Exceptional Antique French 1st Empire Period Dore Bronze Grouping of Lovers, Attributed to Pierre-Philippe Thomire a Paris. Exceptionally cast, hand-chiseled and further burnished and matted with two-tone gold, this dore bronze grouping of two neoclassical lovers is of the upmost quality and craftsmanship. As Pierre-Philippe Thomire is regarded as one of the greatest bronzier's of the late 18th century and early 19th century, this dore bronze piece could only be made by someone with his artistic talents. The lovers are seen with the man seated on a cushioned bench with tasseled...

Antique hand carved merbau wood panel from Lampung, Sumatra. We have a collection in various sizes. Please inquire. The size and price reflect the one shown. Stunning on both sides. ...

This ballerina art collection truly contains something for every taste in art from minimalist more simple canvas prints to more complex dynamic prints. F...

Snipping a profile from paper with scissors, and mounting the result to a contrasting sheet of paper, became a popular diversion among the European and American upper classes in the ...

Original hand-wrought Islamic ironwork from French North Africa serving as wall-mounted sculptures / decorative art panels. Sober, beautiful, timeless. 5 pieces. Priced and sold ...

PAIR of Italian Neo-classic (18th Century) oval white wall plaques with a carved gilt helmet surrounded by a wreath (PRICED AS PAIR).

Stunning Hermes orange feathered wall hanging. Measures: 30" diameter x 6" depth. Other colors available. Please inquire. Andrianna Shamaris. ...