Tri-State Area - Decorative Art

Vintage original advertisements for Warhol Queens at Leo Castelli gallery. Set of 3 circa 1985. Offset print on newspaper stock. Measures: 11 x 17 inches. Minor signs of handling; o...

This print of a lifesize dahlia is gorgeous! Made circa 1850, this botanical print displays the name of the flower written just below the green stem: "Royal Adelaide." The artist has...

The Bible story of baby Moses drawn from the River Nile made with silkwork and chenille. Moses is gently taken from a basket made of reeds while his sister Miriam watches over him. ...

C. Jere tree wall sculpture with Brutalist details to branches, signed and dated. Sculpture is made in two sections where one of the branches ...

This beautiful and dynamic isometric grid sculpture was realized by the esteemed American artist Dan Schneiger in the United States circa 2010. In dialo...

A pair of antique carved wooden architectural panels from the 19th century, with traces of original paint. This exquisite pair of antique carved wooden panels from the 19th century, ...

This rare French Art Deco monumental dinanderie copper charger, by Claudius Linossier, is composed of hammered copper and brass with geometric concentric and triangular silver patina...

Antique Persian Heriz Karaja Oriental rug, in small size. An antique Persian Heriz Karaja oriental rug, size 6'0" x 4'8", ...

Antique Chinese Art deco Rug, Room size, circa 1920. A one-of-a-kind antique Chinese Art deco oriental carpet, hand-knotted with medium th...

A quirky Mid-century Central Turkish Anatolian rug woven horizontally. 3'9'' x 5'9''

Set of 4 Asian Chinese style (20th Century) black lacquer screen panels depicting geishas, intaglio etched with painting (PRICED AS SET).

1980s large abstract painting by NY artist Rowann Villency. With black lacquered frame and Lucite. Artwork measurements height 48'', width 36.75".

Gray, light blue, brow, hint of red 20th century Persian Senneh mat size rug. Measures: 1'7" x 2'8" Antique Senneh rugs are one of the most distinc...

Vintage Kid Creole and the Coconuts 1985 concert poster: This rare Kid Creole and the Coconuts announcement/poster was published on the occasion of his December 26th, 1985 show at Carnegie Hall. This was the band's debut performance at Carnegie Hall, and it was written about in the New York Times: "THE POP LIFE; CARNEGIE HALL DEBUT FOR KID CREOLE" (December 25th, 1985). Medium: Offset printed concert poster. Dimensions: 11 x 17 inches. Good overall vintage condition. Unsigned from an edition of unknown. American latin pop band founded by August Darnell aka Thomas Browder in 1980 in New York City. Fronted by Kid Creole (2) backed by the trio of The Coconuts and also featuring Coati Mundi, they enjoyed most of their success in the eighties. Their debut album was critically well-received but not successful commercially. Their second album was a concept album matched with a New York Public Theater stage production; it received positive reviews, with Darnell recognized as a clever lyricist and astute composer, arranger and producer. Their international breakthrough came with their third album, 1982's Tropical Gangsters, which hit #3 in the UK and spun off three Top 10 hits with Stool Pigeon, Annie, I'm Not Your Daddy and I'm A Wonderful Thing, Baby ; Dear Addy also made the Top 40. In the US the album was retitled Wise Guy and reached #145, and I'm a Wonderful Thing, Baby flirted with the R&B charts. Dixit Darnell: "In the Savannah Band I’d modelled my style on 1930s/40s jazz singer and showman Cab Calloway, and I created Kid Creole as an extreme version of that, a sort of lounge lizard...

A mid-19th-century Caucasian Kuba rug hand-stitched onto a canvas like Linen Fabric. This item can be used preferably as a wall piece or floor covering, and it can be walked on if de...

An antique Persian Serapi oriental rug, size 6'2 x 5'0, circa 1900. This handsome hand-knotted wool rug features a rare ivory field at center, wit...

Mid-Century tapestry designed by Rene Fumeron (1921-2003) and woven at Atelier Pinton Freres in Aubusson, France. Woven in wool, it dates to 1964 and entitled "Comme La Lune". The a...

Antique Persian Sarouk oriental rug, circa 1920, room size. An antique Persian Sarouk oriental rug, size 13'8"" x 10'0"", circa ...

This unique mixture of oxidized and patinated brass/metal makes a substantial addition to any interior decor. Wonderful sculptural quality with rough edge design and weighty construc...

Provenance: Doctor Nils Stenram, Malmo Then by descent Dahlskog was one of Sweden's leading ceramic and glass artists in the 20th century. Ewald was a prominent designer of high-qua...

Antique Indian Agra Oriental rug, size 11'9" H x 9'0" W. An antique Indian Agra Oriental Rug, size 11'9" H x 9'0" W, in Room size, circa 1910. This fine floral wool rug features a f...

Antique Persian Bidjar Rug, Small size, circa 1900. A one-of-a-kind antique Persian Bidjar Oriental Carpet, hand-knotted with soft wool pile. This beautiful rug features a repeati...

Antique Chinese Art deco rug, Room size, circa 1920 A one-of-a-kind antique Chinese Art deco oriental carpet, hand-knotted with medium thi...

Francis Grose entered the army early in life and served in the cavalry, infantry, and militia.He had a profound knowledge of antiquities and spent the greater part of his life collec...

Vintage Persian Sarouk Oriental rug, circa 1930, Room size A vintage Persian Sarouk oriental rug, size 10'1" x 8'3", circa 1930. This lovely hand-knotted wool rug features an intr...

Extremely rare Armenian pottery plate depicting the mosaic floor at the ancient synagogue of Beit Alpha in Israel, circa 1920. Jerusalem's ancient Arm...

Antique Ferahan Sarouk Oriental Rug, circa 1900, Small size An antique Ferahan Sarouk oriental rug, size 6'5" x 4'4", circa 1900. This lovely hand-knotted wool rug features a centra...

Antique Chinese Art deco rug, Room size, circa 1920 A one-of-a-kind antique Chinese Art deco oriental carpet, hand-knotted with medium thi...

Antique Turkish Oushak Decorative Oriental Carpet, Room size, with Red Field A gorgeous antique Turkish Oushak carpet, circa 1920, size 13'5 x 10'7. This lovely carpet features mult...

A beautiful pair of late 19th-early 20th century kitten paintings. By F. Krantz (German). Oil on canvas, with curious kittens. One painting with four kittens and a mouse trap...

African style taxidermy large water buffalo skull mounted on oak shield shaped wall plaque (19/20th Cent.)

American Modern Abstract Silver & Copper Raindrop Wall Sculpture, Curtis Jeré

1950s Carved Wood African Mask Chip in the back as shown

A rectangular Qing Dynasty period shop sign panel from the 19th century with calligraphy and distressed dark brown patina. Crafted during the Qing Dynasty in the 19th century, this r...

Scale rings by Facture Resin, wood Measures: 48 × 48 × 1 3/4 in 121.9 × 121.9 × 4.4 cm The item is available in custom colors from any Pantone reference and can be made to custom ...

Antique Persian Hamadan Oriental rug, Small size An antique Persian Hamadan oriental rug in small size, size 5'10”x 3'7”, circa 1920. This lovely hand-knotted carpet features a cent...

Antique Ferahan Sarouk oriental rug, circa 1910, small size An antique Ferahan Sarouk oriental rug, size 6'8" x 4'2", circa 1910. This lovely...

Vintage Persian Saraband Rug, Room size, circa 1940 A one-of-a-kind vintage Persian Saraband Oriental Carpet, hand-knotted with thick and lustrous wool pile. This classic carpet...

A vintage Persian Shiraz oriental rug, size 5'1 H; x 4'4 W, circa 1940. This lovely small hand-knotted wool carpet features a variety of stylized tribal design elements on the soft b...

American Victorian multi colored beaded glass bell pull with gold beaded border and maroon tassel pull

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...

French Art Deco mixed-media painting on panel by Vanvinckenray (School: Beaux-Arts of Brussels). Provenance: Daughter of the artist.

Antique Persian Kerman oriental carpet, size 10'2" H x 4'9" W, circa 1920. This antique hand-knotted Persian rug features a strik...

Vintage Persian Baktiari Oriental rug, Small size A vintage Baktiari oriental rug, size 8'2" x 5'5", circa 1940. This handsome hand-woven geometric rug features a central medallio...

Antique Ferahan Sarouk oriental rug, circa 1900, room size. An antique Ferahan Sarouk oriental rug, size 12' 5" x 9' 0", circa 1900. This lovely hand-knotted wool rug features an in...

Framed in giltwood, the collection of red wax seals date from the late 18th - early 19th century. Each seal is mounted on a wood pin, and then the group is mounted on paper. NOTE:...

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"

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

An antique Persian Hamadan oriental rug, size 6'2 x 4'0, circa 1920. This small, handwoven wool carpet features a large-scale geometric design in the blue central field, which is enc...

Substantial size. Vintage fiberglass Tang Horse wall sculpture. Great movement and depth. Richly patinated. Curbside to NYC/Philly $450

Antique Indian Agra oriental rug, size 9'4" H x 8'0" An antique Indian Agra oriental rug, size 9'4" H x 8'0" W, in Room size, circa 1890. This fine floral wool rug features a cent...

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

A photograph by Sung An of the dogwood flower native to eastern North America.

Antique Indian Lahore Oriental Rug, size 12'2" H x 9'0" W An antique Indian Lahore Oriental Rug, size 12'2" H x 9'0" W, in Room size, circa 1890. This fine floral wool rug features...

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...

Incredible Asian artwork consisting of 4 rectangular vertical panels having meticulous mother of pearl relief against a fabulous red painted background. ...

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...

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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...

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...