Decorative Art

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 del...

This is a set of nine very large scale British Colonial style framed reproduction tropical fruit prints. They are nicely framed and matted. They would make a stunning wall! The print...

besonders schöner und originaler Flammleistenrahemn aus dem 17.Jhdt, Niederlande für Altmeistergemälde Feine ausgearbeitete Leiste in hoher Qualität Particularly beautiful flame...

This charming collection of eight framed herbarium specimens offers a rare glimpse into late 19th-century Kansas flora. Collected in 1894 by John Fli...

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 del...

"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...

"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 ...

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...

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

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...

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 ...

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

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...

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

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

A rare and original French 'Grande' re-release (1980's) poster from the James Bond 007 blockbuster 'You Only Live Twice' (1967), Artwork by Frank McCarthy (1924-2002). The advertisin...

This is an old Japanese workboard. It was called "Mochiita" and was used as a workbench for kneading flour. It seems to be around the Meiji period. The board is thought to be pine...

Art Deco Wool Textile or Wall Hanging, Europe, 1930s. Original 1930s art deco textile trow / textile / wall hanging with a very distinct floral and geometrical art deco design. Grea...

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

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 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...

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

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

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...

We love the artwork that features on the 1972 re-release Japanese poster for Dr No. This original movie poster is sized 20 1/4 x 28 1/2 inches. It will be sent rolled (unframed). Y...

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...

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

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. Turkey Ready to go on a wall. Frame...

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...

A 20th Century American Rolex Submariner enamel advertising sign. Large and circular, it features the iconic Rolex lettering and crown. Below, the wording mimics the style of the Sub...

Léa Lafugie is a painter who has travelled extensively throughout Asia. She is renowned for her portraits. She studied at the Ecole des Arts Décoratifs in Paris, then at the Ecole de...

Beautiful tile mural with the "DEER" motif finely painted. Quantity: 24 tiles Tile mural size: 23.6"H X 35.4"W (60cm X 90cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portug...

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...

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...

Antique map of Florida Published By A & C Black. 1903 Original colour Good condition 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 any wall. ...

Great images of medicinal plants Unframed. Published, circa 1900. Free shipping

Fabulous country-of-original release Italian poster for the 1967 classic Blow-up.Often sold as first-year-of-release, this printing (featuring the same design as the first release) i...

Sensational image by Gustave Doré Woodcut engraving Published C.1880 Unframed. Free shipping

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...

Stunning artwork features on this French Grande La Haute Societe / High Society poster. From it first release France in 1957. High Society release...

The fabulous and much celebrated Three Basset Hounds Cyrk poster by one of the Masters of the Polish School of Posters, Roman Cieslewicz. In museum collections around the world inclu...

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. Ottoman Turkey Ready to go on a wall....

Small Majolica water lily plate Villeroy & Boch, circa 1900. 6.5 inches diameter.   

Delft 18th Century style tiles featuring a bird in a cage. Mural has six approximately 5 x 5 tiles. These are painted with a green and blue domed bird cage...

Vellum land indenture, 1811, London. Parties mentioned include Richard Phillip Higham, Henry Parry, and John Alliston. The document contains two seals. The blue seal is likely a scrivener's seal. Scriveners were granted authority to draft contracts, wills, and documents similar to deeds that conveyed assets from one party to another. The red wax seal...

Brutalist Mixed Metal Artwork by Sammy Tsui, 1960s 71 x 71 x 4 cm

This is an old Japanese-made sliding door from an old warehouse. It was made during the Meiji period (1860s-1900s) and is a special piece that has passed through a long period of tim...

Top quality, hand carved and truly impressive antique clock with 8 music melodies. 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 clock with musical box of this size and with such amazing natural details and patina AND with the original clock and music box inside. And if that was not enough, this finest of Black Forest clocks is top quality carved from top to bottom in the form of a detailed Swiss chalet. Mind you, this very rare antique clock is entirely hand carved out of nutwood only, which is another sign of the quality of the workmanship and the richness of materials. We have added a large variety of photos so that you can see the many incredibly detailed parts of this Swiss chalet, such as the roof and chimney, the many doors, the stacked lumber outside, the doghouse, the outhouse on the side, the striking balconies, the goose sticking its head out through the balcony, the picked fence, the ladder going up to the barn loft, the clock inside the facade of the house, the music box cilinder in the base etc etc. This antique clock from the 1800s really comes with the most realistically carved chalet house you will ever see. To us, that too is a sign that this Black Forest music box...

We adore the Italian film poster for 60s classic Breakfast at Tiffany's. Enzo Nistri's design is simply fabulous darling! This vintage film poster has been professionally linen-back...

Wonderful image by Margery Lawrence Tipped in plate. On green card Lithograph. Published 1921 The measurement given is the card size not the actual printed image.

Wonderful Gothic architectural print. Pierced ornaments from Lisieux, Bayeux, Verona and Padua. Steel engraving by R.P. Cuff after the original drawing by John Ruskin. Published, ...

This is a hugely decorative collection of early 20th century Italian dried flower specimens framed in a stunning heavily distressed window frame. Not of the period but sets the Herba...

Wonderful image by Harry Clarke Originally an illustration from " Tales of Mystery And Imagination " By Edgar Allan Poe. Published by Tudor Publishing Co., New York. 1935 Unframed...

Sensational image by Gustave Doré Woodcut engraving Published C.1880 Unframed. Free shipping

French Majolica oyster plate with seaweeds Salins (East of France) circa 1890.  

Late 19th century fine quality Japanese hand held lady's fan for keeping cool; hand painted on silk with hand carved bone frame, floral leaf and fret work design; with 18 sticks in a...

French Majolica oyster plate Orchies, circa 1910.

Great image of medical interest. Unframed. Published, circa 1900.

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...

This is an old noodle board made in Japan. On the back, it is inscribed “明治十二年” in writing, clearly indicating that it was made in 1879s. Over 140 years have passed, and this piece s...

This lacquered elm wood folding screen exudes timeless elegance and exquisite craftsmanship. This luxurious room divider showcases an intricate hand painted scene and a rich lacquer ...

In this listing you will find a spectacular antique stained glass window depicting Saint Stephen wearing a crown. The glass is placed into a gilt wood frame with rich floral ornament...

Great image of shells. 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. Publishe...

English Victorian Majolica oyster plate, circa 1890.

Wonderful image of The Mosque of Omar Fine steel engraving after David Roberts Published C.1840 The measurement is the paper size Unframed.

Beautiful tile mural with the "ALBARRADA CHERUBS AND FLOWERS" motif finely painted. Quantity: 48 tiles Tile mural size: 47.2"H X 35.4"W (120cm X 90cm) Tile size: 5.9"H X 5.9"W (15...

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. Greece. Ready to go on a wall. Frame...

Original first-year-of-release Belgian film poster for the Marx Bros classic A Night at the Opera featuring arguably the best design for the title. An extremely rare 'pre-War' poster...

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...

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. Ottoman Turkey Ready to go on a wall....

Original vintage TWA Holy Land 1960s travel advertising poster featuring a wonderful design by American artist David Klein. We adore Klein's typically stylised and colourful design of a dove carrying an olive branch in its beak is approaching Noah's great wooden ark floating on the flood waters. Trans World Airlines (TWA) was a major airline in the United States that operated from 1930 until it was acquired by American Airlines in 2001. It was formed as Transcontinental & Western Air to operate a route from New York City to Los Angeles, soon followed by multiple National routes. Howard Hughes acquired control of TWA in 1939, and after World War II led the expansion of the airline to serve Europe, the Middle East, and Asia, making TWA a second unofficial flag carrier of the United States after Pan Am. David Klein (1918 – 2005) was an American artist, best known for his influential work in advertising. Although he produced illustrations for Broadway theatrical productions, Hollywood films, the United States Army, and numerous corporate clients, Klein is best remembered for the iconic travel images he created for Howard Hughes and Trans World Airlines (TWA). Between approximately 1955–1965, Klein designed numerous award-winning travel advertisement posters, the bulk for TWA, many of which are now considered emblematic of the 1960s Jet Age. In 1957 New York's Museum of Modern Art (MoMA) added Klein's iconic TWA Times Square...