Glass Wall Decorations

Verre églomisé, or reverse glass painting with gilding of Saint George and the Dragon. St George shown riding his steed, slaying the dragon...

Late Victorian trompe l'oeil English chromolithographs of birds on paper, in arched giltwood and mirrored shadow box style frames, with gold paper 'bars' laid over glass. This is a charming set of bird...

Exceptional wall hanging made of silk hand embroidery antique Suzani beautiful pink color background with silk embroidery of floral and vine motif , professionally mounted on quality...

This fabulous photogragh was taken by Ellen von Unwerth, notable German photographer. It was shot on a movie set in 1991. The photo portrays 2 women, on the set of a movie, in Folli...

This is a fabulous photo shot by world renowned photographer Helmut Newton. This image was a custom commission for a Cadillac/GM in 2002. It was gifted to important players in the w...

Pia Manu, room divider, burnished concrete, stained glass, steel, Belgium, 1970s This unique piece of art is assembled in the workshop of Pia Manu and is a great testament to their ...

Vibrant and lively mirror that enhances any room with bold charisma and creativity. Additional Information: This piece is from a series of mirrors inspired by Italian Mannerist painter Giuseppe Arcimboldo, composed of swirls, rosettes, flowers and leaves - some of the most typical elements of craftwork on Venetian mirrors - in the place of beards, eyes, noses and hair. The mask and the mirror are both typical Venetian artistic products: combining the two creates a new mask which maintains the decorative details typical of the antique Venetian mirror while downplaying any seriousness with irony and levity. These playful, exuberant and riotously colorful wall mirrors are produced by an illustrious family of master Venetian glassmakers, prominent for centuries as the finest glass artisans in the world, known today as Barbini Specchi Veneziani. This series ('Ms. Italia', 'The Clown', 'The Biker'), designed by Lucia Massari...

Vittorio Introini for Saporiti, multifunctional wall unit, black lacquered ash, chrome and white fabric, Italy, 1980s. Rare multifunctional wall unit designed by the Italian design...

Ignis Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ignis modern wall decor is inspired by the inner fire that fuels love and passion,...

Led light Unique wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Symbolising the uniqueness of every human being, Unique celebrates one’s au...

Giuseppe Rivadossi, cabinets, oak, glass, Italy, 1975. An exceptional pair of cabinets by the Italian sculptor and designer Giuseppe Rivadossi, featuring a high level of craftsmansh...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

Treason wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Like a crumpled up piece of paper, Treason embodies ...

Breeze Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Breeze modern wall decor captures the essence of a massive, crashing white wave, mirr...

Ignis Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ignis modern wall decor is inspired by the inner fire that fuels love and passion, with an organic design that personifies the glowing and burning flame within this emotion. Crafted in Patagonia granite...

Italian radiator cover midcentury in perforated iron parts in pure gold 1950s. Upper surface in mirror, truly original pieces of great elegance.

This minimal contemporary mirror is perfectly suited for an entryway, bedroom, or bathroom, the abstract modern frame mirror reduces the object to its most minimal form. The movable oakwood tray shelf can be positioned anywhere along the bottom frame. The minimal mirror...

A pair of circular glass and brass shelves, for display or storage, second half of the 20th century, unsigned. The shelves were found in Europe, and were perhaps used for shop displ...

Mexican Newsprint Collages Artist Signed and Dated 1996 Titled "Hombre de Letras" Offered for sale is a pair of Mexican newsprint collages signed bottom right and dated 1996. These...

Wall decoration double Chanel butterflies under glass box frame, anti UV glass, with real multicolored butterflies from bredding farms. Exceptional ...

Midcentury glass box frame with butterflies, French, circa 1950. Good vintage condition Shipping: 4/22 / 52 cm 1.4 kg.

Hand carved, solid walnut antique barometer with maker's mark. This rare Black Forest barometer depicting an incredibly detailed and finest quality also has the most beautiful patin...

Synodic sconce: Nightlight brings mankind in touch with the mysteries of space and the farther reaches of the universe. The moon, traditionally our principal source of nightlight, can evoke strong emotions- from fear and terror to peace and calm. The celestial movements of earth, sun, and moon govern the lunar or synodic month, with the familiar shifting moon phases. Synodic sconce is a representation of these moon phases and an expression of this beguiling celestial dance...

Framed black and white lithograph by notable American artist William August Hoffman.
Hoffman was a noted artist who worked in several mediums including ceramic sculpture, oi...

Large "Fixé sous verre", painting under glass representing a port scene in China in the background, with boats with different flags, rowers, all life o...

Victorian Taxidermy Diorama with Partridge, Germany ca. 1900 An antique diorama with a taxidermied partridge (Perdix perdix) sitting in a handpainted landscape. Mounted in an eboniz...

"Rondo" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: ARUM (2021) Material: Polished stainless steel Finish: Lacquer - Classic gold Si...

The reflective, coloured, rippled glass panel – designed to add a palette of colour to spaces – reflects light in spaces and adds movement and color whilst creating abstracted reflec...

Small circa 1890's lithograph on glass of Madonna and child. Mounted on a wood backing with brass filigree corners and wire folding stand. Image is 3.75" x 5", edge wear, patina t...

Vintage Boho French Mossant Advertising Poster Cutout combines the whimsical elegance of bohemian style with classic American advertising art. This unique cutout features the iconic ...

USA, 1920's Diorama. Sailing schooner. Measures: H 34 x W 64 x D 8 cm.

The Tidal Topography wall installation is composed of hand-blown, one-of-a-kind organic bowl forms. The combination of shiny interior and frosted exterior surfaces emphasize the curv...

Yashhiro Ishimoto ( 1912 - 2012 ) Born in San Francisco and raised in Japan - At the Chicago Institute of Design he honed his craft under Harry Callahan and Aaron Siskind. He was an ...

"OKO 75 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 75 x 6 cm. Zieta is best known for his collection of stools “P...

"OKO 95 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 95 x 6 cm. Zieta is best known for his collection of sto...

"Tafla O5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 60 x 40 x 6 cm. More shapes and sizes are available ...

"Tafla O6" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 55 x 50 x 6 cm Zieta is best known for his collectio...

“Vedute interrotte” Interrupted Views, 1988/1989 Lithograph with silkscreen interventions 70x70 cm Signature in pencil on front Artist's embossed stamp on the front Bibliography 1989 Mario Schifano. Best seller, edited by Giuseppe Bonini with introduction by Achille Bonito Oliva, Torcular Edizioni, snp, rep. 26 Notes Artwork part of the collection ‘Best Seller: 31 graphic works by Mario Schifano’ edited by Edizioni Torcular Edition on handmade paper with Torcular watermark by Cartiera Magnani of Pescia Printer: Egiziano Piersantini Total edition of 331 copies (200 in Arabic numerals, 50 in Roman numerals, 21 in letters of the alphabet, 30 artist's proofs and 30 out of print) This etching, never before on the market, comes from a private collection and is beautified by an impressive original frame in natural wood, in almost perfect condition. The artwork is also protected by glass Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Mario Schifano (Homs 1934 - 1998) was an Italian painter and filmmaker. Together with Franco Angeli and Tano Festa he represented a fundamental point of Italian and European Pop Art. Perfectly integrated in the international cultural scene of the 1960s, he was reputed to be a prolific, exuberant and drug-addicted artist. A keen student of new painting techniques, he was among the first to use computers to create works and was able to process images from the computer and transfer them onto emulsified canvases. Mario Schifano was born in Italian Libya and after the end of the war returned to Rome where, due to his restless personality, he left school early to follow in his father's footsteps who worked at the Etruscan museum of Villa Giulia as an archaeologist and restorer. Thanks to this experience, he approached art, initially producing works that were influenced by Informal Art. His first solo exhibition was at the Galleria Appia Antica in Rome in 1959. In the late 1950s, he participated in the artistic movement Scuola di Piazza del Popolo together with artists such as Francesco Lo Savio, Mimmo Rotella, Giuseppe Uncini, Giosetta Fioroni, Tano Festa and Franco Angeli. The group met at Caffè Rosati, a Roman café then frequented by Pier Paolo Pasolini, Alberto Moravia and Federico Fellini, among others, and located in Piazza del Popolo, from which they took their name. In 1960, the group's works were exhibited in a group show at Galleria La Salita. In 1961 he exhibited in a solo show at Galleria La Tartarugadi Plinio De Martiis in Rome. In the meantime, he had met, among others, his future lover Anita Pallenberg at the Caffè Rosati, with whom he made his first trip to New York in 1962, where he came into contact with Andy Warhol and Gerard Malanga at the Factory. During this period he participated in the New Realists exhibition at the Sidney Janis Gallery, a group show that included most of the young artists of Pop art and Nouveau Réalisme, including Andy Warhol and Roy Lichtenstein. He then had the opportunity to participate in the New York social scene, which led to his first experiments with LSD.[6] On his return from New York, after participating in exhibitions in Rome, Paris and Milan, he took part in the XXXII International Art Exhibition in Venice in 1964. During this period, his paintings defined as 'Anemic Landscapes', in which it is memory that evokes the representation of nature with small details or allusive inscriptions, and the reinterpretations of art history that later led to his famous pictorial works on futurism appear in embryo. In Rome, he met and frequented Marco Ferreri and Giuseppe Ungaretti to whom, already in his 80s, he offered an evening at Peyote. But one of the acquaintances of this period that most influenced him was that with Ettore Rosboch, with whom he formed a deep friendship, based on a shared passion for music. In those years, also thanks to their constant trips to London, the two became friends with the Rolling Stones, to whom they introduced Anita Pallenberg, who in 1965 began a relationship with Brian Jones, and years later became Keith Richards' partner. In 1969, the flat in Piazza in Piscinula in Rome that then belonged to Schifano was used by Ferreri as the set for the film Dillinger is Dead, on the walls of which some of the artist's paintings can be seen. In 1969, the Rolling Stones dedicated the song Monkey Man to Mario Schifano. In 1971 some of his paintings were included by Achille Bonito Oliva in the exhibition Vitalità nel negativo nell'arte italiana 1960/70. Many of his works, the so-called 'monochromes', present only one or two colours, applied on wrapping paper glued on canvas. The influence of Jasper Johns was manifested in the use of numbers or isolated letters of the alphabet, but in Schifano's way of painting analogies can be traced to the work of Robert Rauschenberg. In a painting from 1960, one can read the word 'no' painted with drips of colour in large capital letters, as in a wall graffiti. The influence of Pop art can be seen in all the artistic production of Mario Schifano, who was fascinated by new technologies, advertising, music, photography and experimentation. In particular, the artist's closest works to Pop Art are those of the 1980s. Among the most important works of this period are the Propagande, a series dedicated to advertising brands (Coca-Cola and Esso) in which we have a clear example of the conveyance of commonly used and easily recognisable images quoted in multiple ways or details of them, bicycles, flowers and nature in general (among the most famous series are the Paesaggi anemici, Vedute interrotte, L'albero della vita...

Original 1938 Frank Macintosh "Night Blooming Cereus" & "Mending Fishing Net" Lithograph menu covers for Matson Lines are beautifully framed in black frames with woven wicker matting...

An op art geometric abstract mirror designed by Greg Copeland Inc. Stamped and dated 1973 on verso. The geometric shapes are layered which creates a unique visual statement. Vintage ...

A framed Georgian period lithograph titled "A View of High Street, Birmingham" from the early 19th century, signed T. Hollins. Born in England during the early years of the 19th cent...

Elegant hand work on paper probably pastel or watercolour by the Artist Depicting nude of Two female and a male, nicely done , professionally framed in new bamboo wood frame . R...

TIFFANY the iconic lamp! For 20 years, we have been committed to offering you unique collections in terms of design and quality. Using an ancestral manufacturing silvering method, a...

TIFFANY the iconic lamp! For 20 years, we have been committed to offering you unique collections in terms of design and quality. Using an ancestral manufacturing silvering method, a...

Elegant hand work on paper probably pastel or watercolour by the Artist Depicting Two nude female , nicely done , professionally framed in new bamboo wood frame . Ready to enjoy...

Fantastic set of nine 18th Century botanical engravings by George Eberhard. Presented in hand-painted and lacquered red reeded frames with hessian mounts and AR70 art glass for opti...

Renaissance Stained Glass Panel, 'Seven Men of Good Reputation' French or Flemish, 17th Century or Older A Renaissance stained glass panel, "Seven Men of Good Reputation," originati...

From "Hesperides sive de Malorum Aureorum Cultura et Usu Libri Quatuor", published in 1646. Cassiano dal Pozzo, a friend and scholar on citrus led to the publication. Ferrari was the...

All by Basilius Besler { 1561-1629] Besler was an apothecary and botanist and managed the gardens of Bishop Johann Conrad of Eichstatt, Germany. Besler created 'Hortus Eystettensis a...

Each nicely framed with faux tortoise Flemish style frames with gilded inner border and each depicting animals including an elephant, lion, leopard and Hippo.

These impressive vintage Italian mirrored candle sconces were a bit challenging to photograph because of the mirror reflection. Each sconce accommodates 1 candle Heavy, solid wro...

Pair of 19th Century Chinese Chippendale giltwood and plaster mirrored wall brackets. Brackets feature classical Chinese Chippendale style scrolled foliate gilt decoration with mirro...

Original Diaovne A.B Art Painting for collecting and home or office decoration. 1995s With the painting Diaovne A.B “Senegal” you can create a warm and cozy atmosphere in your home....

Ancient pre Colombian surgical copper tumi tool, processionally mounted on silk Matt with decorative quality vintage frame . Original cloth encrustation and wrapping patterns visible...

Elevate your decor with this Vintage Boho Signed Books Acrylic on Paper. Exuding American style, this one-of-a-kind artwork blends bohemian aesthetics with literary charm. The piece ...

Elevate your space with a dash of wild charm and playfulness through this captivating print of a Leopard in a tree, a lively and captivating piece of art. This print captures the ess...

A pair of albumen photo prints of the roundel sculpture reliefs of Bertel Thorvaldsen, circa 1870s. sight: 15 ½ inches wide frame: 23 ½ inches square by 2 ¼ inches deep

Hand-colored aquatint, 1837 by R. Havell on wove paper with J. Whatman 1837 watermark. Framed with hand-drawn french mat under UV glass. Provenance: W. Graham Arader/Arader Gallery...