Wall Decorations

Set of Four Panels Decorated with Allegories of Arts France Circa 1865 Height. : 180 cm (70,9 in.) ; Width : 63,5 cm (25 in.) ; Depth : 12 cm (4,7 in.) Set of four large painted panels, in carved and gilded wood. The upper part of each panel is decorated with allegories of the arts, representing music...

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

Set of four antique hand-colored engravings. "Britannia Illustrata," the publication in which these prints originally appeared, was one of the most important topographical works of t...

Rare and remarkable Italian pietra dura bayscape with birds, boats and a lighthouse handcrafted in inlaid stone and marble and presented in a marble frame.

Hans Scherfig, Danish 1905 - 1979. Lithograph in colours No. 22/140 - "Tapirs in Jungle". Sheet size: 40 cm x 58 cm. Framed in passe-partout in a brass frame (61,5 x 76,5). Signed: ...

Antique Italian Pietra Dura Plum Mosaic, Framed, C1920. 5 3/4" x 7 1/4" x 3/4". This antique Italian Pietra Dura mosaic features a delicate depiction of plums with leaves, craf...

Landscape painting by Gustave Fontaine (1877-1952) ,Belgium, oil on canvas. Gustave FONTAINE ( Etterbeek 1877-1952 Brussels). Sculptor–painter. Took courses in Saint-Josse-ten-Noode,...

print size is 8x10. Engravings of ancient vessels.

Impar Nexus is an exploration of accepting imperfections as part of the design. It explores the tension between control and chaos, as I learned to work with the chaos rather than fig...

Monika Franco Handmade tapestry with cotton thread. Unique piece. Mexico. W. 107 cm, D. 14 cm, H. 160 cm

Haveli Wall Art by Newblue Unique Piece Dimensions: D 10 x W 66 x H 122 cm. Materials: Patent-pending Newblue recycled ceramic material, recycled sanitary ware, recycled glass, quart...

Pair framed antique engravings of ottoman personages. Set of 12 hand coloured antique engravings of 36 diverse personages of Ottoman and Oriental background spectacularly attired in ...

Set of nine, original late 19th Century Japanese ink and watercolour paintings of lilies on washi paper by N. Uchiyama from a catalogue of Uchiyamaa Nursery, Sugamo, Tokyo. Founded i...

Period: 18th century Style: Greenery Condition: Perfect condition Material: Wool and silk Width: 165 cm Height: 215 cm Depth: 1 cm. In keeping with tradition, this magnificent tapes...

Incredible hand painted scene of "Ballet Russe" with dancers in elaborate Deco costumes and fabulous details in the dress and shoes. This is a one-of-a-kind triptych panel which fills any wall with glamour and beauty. The quality of movement of figures and color is stunning. Dimensions for each of these panels are: Side panels are 24 inches in width, Center panel is 48.5 inches in width. This piece is in the style of Christian Berard, famous triptych panels. Beauty, color, and detail make this panel museum quality art. This panel was acquired from an important Palm Beach estate in Florida (originally purchased in Paris in the late 1950s said by previous owner) and we suspect that this Ballet Russes panel...

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...

Large wall painting "The Ways Of The Red October" October Revolution, Kandt, DDR Manfred Kandt (1922-1992) Oversized mural "Ways of Red October" created...

17th Century Antique French Tapestry Rare Verdure Fine Wool & Silk 8x11ft "This is an incredible antique 17th century French tapestry...

- Created as part of his Two Flags series for the Whitney Museum of Art's 50th anniversary celebration in 1980, this rare and limited edition lithograph by Jasper Johns is a graphic ...

Victor Vasarely AXO, 1973 Print on aluminum dimensions: 25 3/4 x 25 1/4 in. Edition of 250 Signed Vasarely lower left corner

Wonderful set of 8 botanical prints. A beautiful colour of off-white/cream to the paper. Dated 1791 Originally from " Flora Londinensis " published by William Curtis Copper-plat...

Wonderful set of 16 botanical prints Lithographs after the original botanical drawings by Hooker. Original color Published, circa 1850 Unframed. The measurement given is for one...

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

English School 17th Century "Portrait of George Villiers Duke of Buckingham" Oil on canvas 66X53 cm size without frame George Villiers, 1st Duke of Buckingham (Brooksby, 28 August 1...

This charming collection of eight framed herbarium specimens offers a rare glimpse into late 19th-century Kansas flora. Collected in 1894 by John Flickinger, a student at Emporia Hig...

Period: 19th century Condition: Perfect condition Material: Wool & Silk Width: 204 cm Height: 187 cm Depth: 1 cm In keeping with tradition, this magnificent tapestry has undergone a...

PLM (Paris – Lyon – Méditerranée) poster for the Convent of the Grande Chartreuse, created by the artist Roger Soubie around 1920. Artist: Roger Soubie (1898 - 1984) Title: Dauphin...

Condition: Original Vintage Condition Designer: Alfred B. Manufacturer: Alfred B. Materials: Oil Painting, Wood Frame Style: Abstract Expressionism This original mid-century oil ...

Set of 8 French Green Majolica Leaves Plate signed Clairefontaine, circa 1890.

16th Century Brussels Tapestry Great condition beautiful color and design

Wonderful and very rare Japanese tapestry made in the 1900s, made of woven silk and cotton, of absolute fineness. The tapestry is developed in length ...

Set of 11 lithographs by Salvador Dalí consisting of the following prints: 1. Virgil's Admonishment - Purgatory #5 2. The Neglectful - Purgatory #3 3. Paradise 25 - St. James of Hope 4. News of the Limbos - Inferno #4 5. The Law of Climbing...

This is a wooden sliding door produced in Japan from the late Edo period to the Meiji period. This piece, which must have watched over people's lives for many years, is more than jus...

Fiber art wall hanging by California textile artist Margo Farrin O'Connor, circa 1970s. Margo and her husband William founded their jewelry making, metal sculpture and fiber art st...

Own a piece of photographic history with this framed Helmut Newton black and white photograph, titled "Two Playmates." This iconic image, one of Newton's classic and most famous fema...

a 19th Century Hand Loomed French Aubusson Tapestry Details rug no. j4421 size 4' x 5' 6" (122 x 168 cm

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. India. Ready to go on a wall. Framed...

English Majolica Strawberry & Grapes Plate Wedgwood Circa 1930. White and pink. 8.8 inches.

Fabulous set of 8 figural medical prints. Unframed. Published, circa 1900. The measurement given below is for one of the prints. Free shipping

Wonderful set of 16 prints of the Middle East Steel engravings after W.H Bartlett and T.Allom Published by Fisher All dated 1830's to 1840's Unframed. The measurement below is ...

Great image of monkeys. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. Brown with original hand color. Publish...

Large Gumdrop Mirror by Courtney Kinnare 2025 Resin, Acrylic, & Ink on Mirror Dia 30" The Gumdrop Mirror features vibrant, candy-like orbs in rich cherry and blush tones, adding ...

Art Deco engraving dated 1935. Model: "Ballerina at Rest." Signed Louis Icart. In good condition, some yellowing. Height: 50.5 cm Width: 59.5 cm Weight: 2.1 kg Louis Icart (1888-19...

Antique map of Maryland And Delaware Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

19th Century Majolica blue & white oyster plate Wasmuel. Reference / Page 48 "Oysters plates" of J. Karnitz.

Marc Chagall Color Cliché Editions du Chêne 1947 Framed Enter the enchanting world of Marc Chagall with this beautifully crafted color cliché, published by Editions du Chêne in ...

Beautiful painting by the famous Swedish artist Per Ekström (1844-1935). He studied at the Academy of fine arts from 1865-1872 He worked in Paris, Barbizon and Saint Germain from 18...

This unique teak carved panel depicts Dayak Tribal mythology. The Dayak people are some hundreds of various native groups found in the interior rainf...

Josef Albers Homage to the Square 1964 (set of printed works): A set of 4 screen-printed inserts from the 1964 exhibition catalogue, Homage to the Square: 40 New Paintings by Josef Albers, Sidney Janis Gallery, New York, 1964. Well-suited for matting & framing; printed on fine, double-folded wove paper. Medium: Silkscreen in colors on double folded thick wove paper. 4 individual works. 1964. Dimensions as it applies to each individual work: Sheet size: 8.5x11 inches. Image size: 7x7 inches. Very good overall vintage condition; minor corner bumping to margin-edges; well-preserved. Unsigned from an edition of unknown. Published by Sidney Janis Gallery, New York 1964. Looks fantastic framed as a set. Josef Albers is best known for his seminal “Homage to the Square” series of the 1950s and '60s, which focused on the simplification of form and the interplay of shape and color. “Abstraction is real, probably more real than nature,” he once said. “I prefer to see with closed eyes.” His abstract canvases employed rigid geometric compositions in order to emphasize the optical effects set off by his chosen color palettes. Albers was highly influential as a teacher, first at the Bauhaus in Germany alongside Wassily Kandinsky and Paul Klee, and later with posts at Black Mountain College, Yale, and Harvard; he taught courses in design and color theory, and counted among his students such iconic artists as Eva Hesse, Cy Twombly, Richard Anuszkiewicz, and Robert Rauschenberg. He is often cited among the progenitors of Minimalist, Conceptual, and Op art. In 1950, at the age of 62, Albers began his signature series, the Homage to the Square. Over the next 26 years, until his death in 1976, he produced hundreds of variations on the basic compositional scheme of three or four squares set inside each other, with the squares slightly gravitating towards the bottom edge. Related Categories: Josef Albers Squares...

"Pretty small French tapestry from the late-20th century, featuring a beautiful design and nice colours, woven in jacquard loom by wool acrylic a...

Stunning Zuber Panoramic Wallpaper Hindustan Woodcut Print Panels 5-7, France 1970s. The picture is composed of three panels numbered 5 to 7 of Hindustan Panoramic Wallpaper, which ...

Oil on board seascape titled "Romance of the Sea". The artist was born in Odessa, Ukraine, in 1883. After immigrating to Cairo in 1912, his travels took him to Holland, Indonesia, an...

Rosa Bonheur (1822-1899) Attributed, Oil on Canvas 19th Century French Extraordinary 19th century oil painting, Sheep in a Meadow, signed lower left - Rosa Bonheur -. This small mas...

Great image of a racehorse presented in an antique oak frame Lithograph after George Stubbs with original hand color. Published, 1847. Free UK shipping Shipping is $30 to USA

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Turkey Ready to go on a wall. Frame...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Turkey Ready to go on a wall. Framed...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

"Discover the timeless elegance of this exquisite vintage French tapestry featuring Renaissance-style jacquard tapestry, "Hunting with Hounds," depicts a scene of a hunting with houn...

Offered is an absolutely stunning, 1890s or older wall console or shelf. Minor patina gives this piece a classy statement. Made of hand craft wood and gilded. Use just as a decorativ...

A charming Trompe l’Oeil plate, made in Italy by Este Ceramiche, circa mid 1960s to the early 1970s. The ceramic plate or wall plaque shows a group of life-size, three dimensional b...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Turkey Ready to go on a wall. Fram...

A Large Pair of Cast Iron Royal Coat of Arms, 19th Century Provenance: Important Private Melbourne Collection. Description: Each coat of arms rendered with polychrome application, ...

- Handspun and handwoven wool, oil paint - 2022 - Unique piece - Framing by Laetitia Verchere - Edition of 10. Dimensions: 25.2 x 25.2 in // 64 x 64 cm.

An Elegant Lady Admiring her Present By Auguste Toulmouche (1829-1890) An Oil on Canvas work depicting a well-heeled young lady, seated in her pink gown, admiring her new bracele...

A daring Polish comedy about the erotic adventures of a famous sexologist. Great artwork by Andrzej Pagowski features on this on this country-of-origin-poster. The end of the Second...

Wonderful image of The Sphinx of Giza Fine copper-plate engraving Published C.1810 Unframed. Free shipping

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

Great image of a black bear presented in an antique oak frame Lithograph after Cpt. Brown with original hand color. Please note the dark area to the right of the print is shadow P...

Stunning large carved wooden bull wall shelf. Over the years we have had the pleasure of owning and selling a number of beautiful Black Forest antiques, but never did we come accross a 19th century Black Forest wall bull bracket of this size and with such amazing natural details and warm patina. This marvelously handcrafted and good condition, bull sculpture wall shelf...

Very beautiful antique French Aubusson tapestry featuring a view of the nature in the woods, with birds, trees and a river. we can see further away, village houses. With nice natural...

A beautiful painting, a portrait of a Chihuahua dog. The painting was made by the Belgian artist Robert Detrixhe. The painter was born in 1935 and was particularly active at the end ...

Offset lithograph in colors on wove paper, published in conjunction with an exhibition—Warhol’s breakout “Flowers” show—held at New York's Leo Castelli Gallery from November 21-Decem...

Wonderful image by Edmund Dulac Tipped in plate onto paper Lithograph. Published C.1930 The measurement given is the paper size not the actual coloured printed image. Free ship...