Floral Chintz

A sinuous upholstered dining chair on tapered legs.

Boch Freres Chinoiserie Porcelain Gilt Floral Ginger Jar Hand Painted Table Lamp. Gorgeous and monumental gilt hand painted floral porcelain chinoiserie ginger jar wired as lamp. Lovely scale and proportions. Genius use of color. Victorian lampshade...

Handwoven recreation of the Classic French flat-weave Aubusson rugs that have been found in the finest homes and palaces since the late 17th century. Size: 11'9'' x 18'.

Interesting French tole decoration bunch of flowers in a basket, maybe a dummy board.

A beautiful early 19th century pear shaped Meissen covered vase with raised fruits, vines and flowers. The vase is finely hand painted with pink ...

A beautiful, classic and large example of turn-of-the-century travel luggage, this antique French steam trunk features all of the quintessential details, d...

A wooden armchair with metallic feet finished in brass and painted black. It is covered with fabric of beautiful blue floral design, bringing gorgeousness to the space.

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. Placing...

Stool in velvet fabric, flowers decor, brass feet.

F. Fleury, mid-19th century, flower still life with blue and white delft vase, oil on canvas, signed: "F.Fleury". The painting will be send from Europe. Shipping to Boston included.

X chair is born from the iconic symbol of the "x", a characteristic element of the design of the back of the chair with which no other line interferes. The goal of the Slovenian desi...

Exquisite wood floral ball table by Sarreid Ltd of Spain, circa 1960. Hand carved solid wood form with exceptional detail. Forged brass stops secure the glass tabletop. Subtly staine...

Large English porcelain charger with floral relief, circa 1890. Impressed Worcester Royal Porcelain on the back.

This 18" x 18" pillow features our Pyne Hollyhock print, one of Schumacher's most iconic and sought-after designs. Shown here in Indigo and finished with self welt edges, this chintz...

This 18" x 18" pillow features Betty Chintz in Quiet Pink paired with a Gustave Silk Lip Cord Narrow in Blush. A lush tangle of tulips, roses, and ranuncu...

This chintz pattern was famously used by designer Albert Hadley for his client Nancy Pyne. It's one of our most sought-after designs. Since Schumacher was founded in 1889, our fami...

This chintz pattern was famously used by designer Albert Hadley for his client Nancy Pyne. It's one of our most sought-after designs. Since Schumacher was founded in 1889, our fami...

Rather theatrical and glamorous daybed with a sweeping S-shaped top, raised on large turned baluster legs. The structure is painted in an elegant light green, and has been newly upholstered in vintage chintz.

A French Antique Limoges Hand Painted Porcelain Floral Plaque France, Circa 1900 Marked on back: D & C France d Dimensions: Width: 14.75", Heig...

Following the fashion in the U.S.A. for French Aubusson and Savonnerie carpets at the turn of the previous century, workshops were commissioned to weave hooked rugs in this style. Th...

Decorated by a floral pattern inspired by French Aubussons and Savonneries, this rare American hooked carpet is very finely woven using coloured...

"Set of 4 French Regence style (19th Cent) walnut high back side chairs with carved stretcher and upholstered red floral Aubusson seat and back. Antique condition, some wear to upho...

Beautiful 19th century French large suite consisting of a settee and 4 arm chairs and two side chairs. Original painted grey with parcel gilt details. Beautiful Aubusson tapestry wit...

1910/M, I hope You can understand what it is from the photos. Museum quality antique sofa, coating with an authentic Aubusson old tapestry. Unique piec...

Handwoven recreation of the Classic French flat-weave Aubusson rugs that have been found in the finest homes and palaces since the late 17th century. Size 6' x 9'.

74344 Antique American Hooked rug with French Aubusson style. This antique American hand hooked rug with French Aubusson style features a decorative winter and spring floral bouquet ...

Handwoven recreation of the Classic French flat-weave Aubusson rugs that have been found in the finest homes and palaces since the late 17th century. Size 10' x 14' 4''.

Handwoven recreation of the Classic French flat-weave Aubusson rugs that have been found in the finest homes and palaces since the late 17th century. Size 9' 11'' x 13' 10''.

Antique French Aubusson rug, circa 1890. Aubusson carpets are pile less and tapestry woven from that town to the southwest of Paris, by a group of independent weavers working under Royal or State protection. The designs are strictly classical, neoclassical or Victorian. They are virtually never “oriental”. The pattern wefts are wool with silk and/or metal thread for details in the more finely woven examples. Sizes tend toward the squarish and pieces 30’ by 30’ are not unknown. The 18th-19th century French clients included the nobility and haute bourgeoisie. Aubusson carpets were also exported to England and are often to be found in country houses. Light colors are the most popular and dark toned pieces are very rare. Besides traditional Louis furniture...

A difficult to find square Aubusson, with a wonderful composition. The central ivory medallion enclosed in a swirl of soft rose colored vines all surrounded by a glorious border in s...

Textile of the Royal Manufacture of Aubusson of the 19th century. Representation of some flowers. Perfect state of preservation. Reinforced by a fabric on the back of the work Dimen...

Large size Spanish "bodegon" still live oil on canvas painting with flowers, fruits and birds.

A rare, antique French porcelain bottle or decanter by Jacob Petit. With typical Meissen style "Schneeballen" overall flower encrusted decoration, figural flower encrusted handles...

Charming 19th century French majolica painted platter bird and white daisy and poppies signed Longwy. Impressionist period.

7 antique b&g bing & grøndahl deep plates. Hand painted with flowers. Soup/pasta plates. Measures: 19.5 cm. x 4 cm. deep. 1860 / 70s. In very good conditio...

Pair of 19th century French painted tole flowers in a wooden painted vase.

French Majolica flowers (pansies and daisies) basket with bird signed Jean Massier, circa 1890.

Antique map titled 'Bouquet No. 4'. Beautiful color lithograph by Villain of a flower bouquet. Published by Schroth, Paris.

Charlotte Lancelot revisits a classic. Technique: a cross, a pixel. Carpets, poufs and cushions made using a perforated soft felt base with interwoven threads of wool in a range of c...

A anonymous Italian 19th century flower painting, oil on wood. The flowers in a gold colored bouquet vase with a scrolled base. Resting o...

Amazing Mid-Century Modern hand blown Italian flush mount chandelier featuring overlapping multi-color crystal flowers, mounted on a webbed white painted frame. Measures: Height ...

Oil on canvas, work made in Austria in the 1960s. Signed on the corner by unknown artist.

A horizontal, circa 1930s Italian light fixture with multicolor glass flower insets and interior lights. Measurements: Height 20" Depth 17" Width/length 40".

A vintage Hubley cast iron doorstop showing a bouquet of lilacs and daisies set inside a woven basket with a top bow. The basket sits on a hea...

French carved giltwood mirror with beautifully detailed still life painting of flowers and urn with a green parrot. The mirror also features nicely hand-carved neoclassical elements,...

French Louis XV style (19th Cent) bronze dore and porcelain floral decorated mantel clock with four 18th Century style figures and cupids (Balthazar) *Not working

This authentic Persian Isfahan rug has wool and silk pile on silk foundation with an excellent condition. The design and color combination are absolutely magnificent and unique. This...

This elegant colorful hand painted Majolica planter was sculpted in Montigny sur Loing, France, circa 1860. The ceramic jardinière with root shape handles features high relief soft pink, blue and beige rose flowers with pale green leaves, and brown and grey background. The ceramic vase is in good condition commensurate with age and use (minor chips on few petals). Impressionist ceramics term generally applies to "paint the slip" or "batch gouache". At the turn of the nineteenth and twentieth centuries, the towns of Montigny-sur-Loing and Marlotte are many artists living places like Jean-Baptiste Corot, Eugène Thirion (1839-1910), Adrien Schulz (1851-1931), Numa Gillet (1868-1940) and Lucien Cahen-Michel (1888-1980), all attracted by the quality of the landscape and the light. When Eugene Schopin founded in 1872 a ceramics factory, he worked with the painters to create a range of designs inspired by Impressionism and decorated according to new public demands. Several ceramic factories will develop around this Impressionist movement. The most famous, such as Georges Delvaux (1834-1909), Albert Boué (1862-1918) and Charles Alphonse Petit (1862-1927), will produce until 1922. Other manufacturers, such as Theodore Lefront...

76664 Vintage Aubusson Garden Chinese Area Rug with Baroque Floral Chintz Style 09'02 x 12'00. Drawing inspiration from Mario Buatta and Chintz style, t...

A charming pair of footedbcircular floral design potpourris with gold trim and decorative mounted masks on either side with removable lids.

A fine and elegant antique Italian Le Nove floral painted faience vase and cover. The earthenware hexagonal shaped vase has a moulded ribbed body exquisitely h...

The beautiful set by Esdeve - Sarreguemines features a lovely pink French Majolica dresser mantel clock and a matching pair of pink floral garniture vases. It features an Art Nouveau...

Refined polychrome porcelain pair of vase, China, 1950s. Vases made of hand painted porcelain with orange floral motifs. Brand at the base blue canton. Perfect for decorating an Asi...

English Derby oval mirror with vibrant bead work and decorative porcelain flowers. Mirror retains the original beveled glass and paper label on back, Ear...

An antique German hand enameled porcelain charger by Henneberg-Porzellan features stylized flower form with floral reserves and gilt highli...

This authentic Persian handmade rug has wool and silk pile with silk foundation. This rug is from Iran, Tabriz and the design is medallion floral (Shirfar Design). The base color is ...

This handmade rug is a very fine and precise piece with high quality, made in the workshops in Nain city in Iran. This piece has wool and silk pile with cotton foundation. Nain is a ...

Beautiful floral plate with scalloped edges. The piece features roses and other flora throughout and gold designs around the rim and in center. The bottom reads: Gold Castle made in Occupied Japan...

Round green and white cabbage serving dish with floral motif. A lovely way to add a touch of spring to any table! This dish has scalloped edges, with mint green ombre which moves int...