USA - Decorative Art

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

Mid-Century Ceramic Orange Oyster Plate Vallauris circa 1950. 9 colors available. pink,navy blue,yellow,orange,green,purple,black,aqua,red.

French Majolica bird with grapes aqua plate signed Sarreguemines, circa 1880.

French Majolica bird with grapes plate signed Sarreguemines, circa 1880.

Unique ceramic art plaque of The Oracle of Delphi. The ceramic has a leather hanger at top to hang on wall. Contains colors of yellow, green and brown The Oracle of Delphi was a prie...

A finely embroidered silk civil rank badge panel presented in a giltwood frame circa mid-late 19th century. The square rank badge is known in Chinese ...

A color lithograph in primary colors by Alexander Calder (1898–1976), framed in a simple black wooden frame. The lithograph is signed "Calder" in pencil at the lower right and number...

Very colorful handmade mosaic framed wall art.

Green Majolica leaves plate, circa 1890.

Great sample of the French artist Michel Anasse in this metal welded surrealist sculpture of the series " Musicians ".

A pair of French hand carved wooden decorative panels from the 18th century, with ribbon-tied swags, flowers and fruits. Born in France during the Age of Enlightenment, each of this ...

Decorative Fine Carved Wood Wall Panel Measures 45" in width, 20" in height

An antique pair of stunning French Baroque painted and partial – gilt carved architectural elements or wall panels, in good condition. These wall décor ornaments are very ornate and ...

Set of 6 Large German Majolica Chesnut Leaves Plates Circa 1900. 9.2 inches diameter.

Pair Of 19th Century French Majolica Apples & Pears Platters Fives Lille. 8.3 inches diameter.

French Majolica plate Onnaing Circa 1890. flowers and blackberries.

Vintage English Hanging Double Sided Metal Pub Sign~~The Sutton Arms~~ Traditional Free House 42" tall x 34" wide x 2.5" deep Popular decorative wall decor in today's home or b...

Lovely custom framed 19th century botanical engravings from "Sowerby's English Botany, or, Coloured Figures of British Plants". Sowerby was a famous English naturalist, illustrator a...

Orientalist Painting Wall Art Arab Market Scene Dutch G. Huijsser Antique Frame. Very nice oil on cardboard by Gerard Huijsser, Dutch painter, depicting a gathering of people in a or...

19th century American framed still life depictions of fruit, set of 10. Group of 10 small framed still life depictions of fruit, to include: watercolor theorem depicting apples on a...

A large solid cast polished brass door knocker sophisticated in shape and design. A substantial Georgian style early twentieth century brass door knocker. The piece was acquired from...

Unusual and rare large scale glazed ceramic hand painted tiles depicting Native Americans (?) in a ceremonial dance. Likely natives of Brazil, when it was a colony of Portugal. The f...

Vintage Thai Temple charcoal rubbing. Hand crafted temple scenes at the Wat Pho temple located in Phra Nakhon district in Bangkok Thailand...

French Majolica Wall Fish Vallauris, Circa 1970. W / 11.7" , H /7.5 "

Rare Colorful 19th century French Majolica strawberries wall platter signed Longchamp terre de fer. The fruits are in high relief with the leaves and branches. Diameter / 11.5 inches...

Early 19th Century French Flowers Porcelain Plate. Called Porcelain of Paris. 9 inches diameter.

Majolica dish leaf Villeroy & Boch, Circa 1890.

French Majolica chesnut leaf & bogue plate Sarreguemines, circa 1890.

Friedrich Ortlieb (German, 1839-1909) A fine and large oil on canvas titled "New Year's Day at The grandfather's". The joyful indoor family scene depicting a Christmas and new year's celebration with an elder seated couple, the grandparents, the grandmother holding a toddler on her arms, the grandfather with his smoking pipe by his side, both enjoying a young boy's (grandson) poem recital, while other children await their turn with gifts as the mesmerized young parents Stand and watch in awe. A Christmas tree by the window, a cat sneaking by and a basket with wine and bread awaits being delivered as a gift to the elders. A young boy sits patiently on a chair, an apple and an umbrella by his side. Signed: Fried Ortlieb, München 1873 - (lower right). An engraved brass plaque reads "New Year's at the grandfathers - Friederich Ortlieb 1839-1909) Munich, circa 1873. Friedrich Ortlieb was an accomplished artist, born in Stuttgart in 1839 and died in Munich on the 4th October 1909. He received his formal art training at the L’Ecole des Beaux-Arts in Stuttgart and also at Steffeck, Berlin. He exhibited widely, though most notably in Dresden and Vienna from 1871. He is best remembered for his genre scenes with children as shown in this finely detailed example of his work. Epitomizing the very best in this genre, Ortlieb depicts the character and personality of the children in joyful situations with accuracy and great sensitivity to the subject matter, a frozen moment in time with so much detail and emotion expressed in the children’s and elder's faces. Related literature: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs by Gründ, Volume 8, Page 41 Provenance: Grogan Company, Dedham, December 5, 1999 - Sale No. 81, Lot 13 Gallerie in Paris, 2000 Christie's New York 2003 Paris art gallery...

This original 1950s Coca-Cola sign has the perfect faded red look that gives it tons of character. With its worn-in, industrial vibe, this piece is an incredible find for any vintage...

Edo Period, Bronze Japanese Samurai Stirrups, Japan, 18th c. A pair of Japanese bronze abumi (samurai stirrups), featuring the characteristic deep, boat-shaped form designed for sta...

Each hand-carved swag with plump fruit and vegetables nestled among flower heads and foliage.

A rare antique French faience Quimper star shaped plate, circa 1920. Maker's mark on reverse. This charming plate is decorated with a hand painted Breton musician surrounded by geome...

French Faience Blue & White Bird Plate Moustiers Style Moustiers style Martres Tolosane, circa 1900.  

Based on a rare 18th-century document and created by one of Europe's premier engravers, this design comes in coordinating panels of fabric and wallpaper with a 12-foot repeat. Pane...

French Majolica Frog Wall Pocket Jerome Massier Fils Vallauris, circa 1900. The Massier are known for the quality of their unique enamels and paintings. The Massier family produced d...

Antique embossed copper repousse wall hanging charger / platter featuring a tavern scene at the center and Neoclassical motif of cherubs / putties, baskets of fruit and Green Man fac...

Rare Majolica Palissy oyster plate attributed to Thomas Sergent with fishs heads, circa 1880.

For your consideration, a 1970s Wall Art Abstract Sculpture Metal in the style of Stephen Chun Hong Kong. Unmarked. Dimensions: 34.25 W x 34.25H x 1D...

Large original oil painting of Maine landscape by Henry Varnum Poor.

19th Century German Majolica Swan and cygnets Plate Circa 1900.

An expressive set of five large-scale wooden panels, emphasizing negative space over ornamentation. As with his totems, the French artist Franck Evennou imbues his natural subjects w...

Signed and dated 1968 on the lower right and on verso with title and date. Christies labels on the stretcher- 10-JAN 07, sale 1786 lot 23. A wonderful view of the crowded beach with some women wearing two-piece bathing suits...

Large hand embroidered and quilted textile from North India. Mughal style silk and metal threaded tapestry framed from Rajasthan, India Fanciful Asian folk art design in this disti...

Oversize and spectacular 19th century Black Forest carved wood trophy wall plaque with a large fish. Beautiful carved border with acanthus leaves. Measur...

Large French Mid-Century Blue Flower Plate signed Charolles. 9 inches diameter.

Majolica roses plate wasmuel, circa 1890. 8.3 inches diameter.

A lovely 18th century Nevers earthenware plate featuring a brilliant yellow drinking out of a bird bath, the rim decorated with flowers.

Small Majolica daisy plate circa 1900. 4.5 inches diameter.   

French green Majolica oyster signed Marcel Guillot, circa 1950.

Classic Italian romance oil painting signed Castiglione, circa 1940s-1950s The painting depicts a young man romancing a young woman with his...

19th century German, likely Berlin Iron Works, cast iron charger with mythological figures of goddesses, putti, various animals and fish in relief. T...

A pair of 17th century Chinese Huaniaohua paintings created in 1665 with the watercolor mixture Gouche. The pair showcases beautiful floral scenes in the centuries old tradition of...

Lofty set of eight French 18th century hand colored engravings depicting parrot species as first discovered and noted by scholastic naturalists. Presented under glass in carved wood,...

French Majolica bird & flower plate, Circa 1890.

This pair of 19th-century decorative floral painted panels offers a beautiful glimpse into traditional craftsmanship, featuring delicate hand-painted floral motifs of soft pink and o...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

A most attractive complete set of twelve Italian 19th century Neo-Classical st. Marble, Ormolu and patinated Bronze plaques of The Twelve Caesars. Each wonderfully decorative plaque ...

A stylish Art Deco French Longwy majolica fish plate, circa 1930. Maker's mark on reverse. It's a rare color, white with lovely soft purple lilac accents, and it displays beautifully...

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...