Decorative Art

A gold, antique Swedish Gustavian pair of wall mirrors made of hand crafted gilded wood with its original mirrored glass, in good condition. The Scandinavian wall décor...

Leather wall art, made with relief and leather inlay, with a solid cherry wood frame. This atypical wall art, highlights the expertise of designers in the field of leather and wood,...

Exquisite and colorful original oil on canvas painting by 20th century French painter, Joan Mayor, from the 1940s, depicts a ravishing woman or pin-up girl ...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

This unique brutalist wall relief was sculpted with bronzed resin over wood, in the style of Paul Evans, circa 1970s. Incredible textures and col...

Vividly colorful and classically composed, yet loosely painted, this original still life oil on canvas painting of flowers in a vase on a table is a fine example of the work of famous, listed, deceased American Impressionist painter, Louis Ritman...

An organic modern wall decorative artwork handcrafted in Spain by Gabriela de Sagarminaga. We created it based on the idea of volume to add a touch of spatiality with its symmetrical...

Pair of fine Art Nouveau / Jugendstyl gilt bronze relief wall plaques, with wonderful details, mounted in walnut frames. The reliefs depict Diana, ...

Another wonderfully inventive, witty and well executed design by Maciej Urbaniec features on this original 1970s Polish CYRK (circus) poster. The ‘Cyrk” circus poster in Poland ap...

Sotheby's Art at Auction-1988-89 by Sally Liddell, (editor), Jasper Johns Cover. Harper & Row, NY. 1st Ed hardcover with dust jacket. Several hundred be...

Royal Vienna & Haviland Limoges Porcelain Signed Plate Female Beauty, circa 1900 Beautiful Hand Painted Women in Red White & With Auburn Flowing Hair &...

A light-brown, vintage Mid-Century modern French self-portrait oil on cardboard painting of Daniel Clesse, in good condition. Signed on the lower right. Wear consistent with age and ...

Stunning continental view possibly venice, Italy. Watercolour on Artists board, last quarter of the 19th century. Depicting Mountainous and Landscape views with three ladies...

Charming Japanese Showa period two-panel folding byobu screen featuring an embroidered silk picture of beautiful gift boxes. Stunning pattern of Hanaguruma (flower cart) laden with d...

Discover a unique blend of art and history with this captivating block print of an animal. Set against a soothing green matte, this vintage piece stands as an intriguing dialogue bet...

Banana pendant by Sofia Alvarado Dimensions: D 200 x H 3 cm Materials: Embroidered blackout fabrics, Macrame / lacquered metal stand. One of a Kind. FI is an ornamental artist ...

In between letters small installation by Tero Kuitunen Material: ceramic objects, pigment and wood Dimensions: D 11 x H 20cm Size customizable. Handbuild ceramic letters that w...

In between letters large installation by Tero Kuitunen Material: ceramic objects, pigment and wood Dimensions: D 22 x H 30cm Size customizable. Handbuild ceramic letters that w...

Advertising poster for an event featuring "cancan dancers" with printed event information and a well-staged dancer in motion with her petticoat billowing....

Spanish Orientalist school, 20th century. "Audience in the Alhambra". Oil on canvas. Measurements: 31,5 x 23 cm; 47 x 39 x 39 x cm (frame). Orientalism was born in the 19th centu...

A rare antique finely worked French barometer with lyre shaped crest thermometer above a large hexagonal framed barometer. The Parisian décor piece is m...

Art at Auction: The Year at Sotheby's & Parke-Bernet 1970-71. By Philip and Annamaria MacDonald. Viking Press, NY, 1970. Numerous color photos of important lots from all of Sotheby's...

A dark-green, yellow antique French Provencal landscape oil on canvas painting, portraying a sunny day in a small town, most likely in Provence, painted by Eugène Colignon in a handc...

Large mural of artisanal tiles of the 20th Century impressive mural of tiles of the 20th Century made in an artisan way with hand-painted and fire-fired tiles. Measures 280 x 155 cm.

Look at this Chinese antique wood carving panel, it has very deep 3D carving works of Chinese folks art - deer and immortal holding a glossy ganoderma- meani...

This recent artwork from the w o o d p o p studio is an example of the type of modern marquetry that w o o d p o p is becoming synonymous with. Since its inception 10 years ago - the studio has specialised in marquetry and inlay work; meticulous art-forms where pieces of wood veneer are inlaid to create decorative designs or pictures. Emma Wood, who founded the studio 10...

Garment district NYC scene by Matthew Popielarz on canvas.

British Sailor's large woolwork of HMS Brunswick, Circa 1865 The large sailor's woolwork depicts an image of a Royal Navy Second Rate Battleship. By repute she is the HMS Brunswick ...

A Chinese Qing Dynasty period linden wood signboard with calligraphy with stunning age-related patina. The wood carved signboard showcases a pair of couple written by a younger juni...

We're sure we don't need to spell it out how fantastic these vintage letters are! Most of them were salvaged from an old disused letter making factory in England along with some fab...

Large mural of artisanal tiles of the 20th century impressive mural of tiles of the 20th century made in an artisan way with hand-painted and fire-fire...

Sotheby's Art At Auction 1998-1999 Edited by Emma Lawson. Sotheby's Publications London, 1998. 1st Ed hardcover with dust jacket. This annual reference work provides a view of the ye...

An attractive abstract decorated tile artwork, framed in hardwood and brushed aluminium. Signed by Rachel Savir, ceramicist, active Israel 1970s. Bold c...

Antique hand carved walnut wall plaque fruits and vegetables, Germany, early 20th century. This absolutely gorgeous masterfully carved wall decoration from the early 20th century fe...

Untitled mixed media collage by Chet Lamore, circa 1978. Signed Lamore on the lower center.

Edo Pariod Japanese two-panel screen depicting cranes on a willow branch. 3992

An exceptionally fine quality example of a pair of framed Still Life of fruits Oil Paintings on Artists board by well documented English Artist William Hughes, third quarter of the Nineteenth Century. Complete with good giltwood frames, one is signed lower left W. Hughes and dated 1863  Both paintings with similar views depicting Still Life of fruits to include Apples, Pears and Black Grapes  Condition: Good condition recently professionally cleaned and ready to hang. Old trade label CHAS H WEST Framemakers in Primrose Hill, London.  Height: (entire including frame) 13.75" (35cm). Width: (entire including frame) 17.5” (44.5cm).   Location: Dublin City, Ireland.  Affordable fixed charge Worldwide Store to door shipping offered.  Provenance: Burling Paintings Art Gallery, Burlington Gardens, Mayfair, London.   William Hughes (1842-1901) was a still life painter, father of Sir Herbert Hughes-Stanton. He was a pupil of George Lance and W.H. Hunt.  Hughes exhibited at the Royal Academy between 1866 and 1901 as well as at the British Institute, Suffolk Street and the Grosvenor Gallery.   Titles at the R.A. include “The Baron’s Dessert” and “For the Feast of the Tournament”. A major work, a set of large bird paintings...

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

Pair of hands on ceramics. work glove molds They can be used as sculptures or also as coat racks. We have specialized in the sale of Art Deco and Art Nouveau ...

USA, likely 1970s 'Burning Bush' original art signed Paul Nelson, 12/65, nicely matted and framed. Hand signed. Dimensions: 19" W x 25" H x 1.25" D

Large Carved Solid Teak Long Rectangle Wall Plaque Relief Sculpture Depicting Jangle Villagers.

Advertising poster for the "Casino de paris" with printed event information and a well staged Art Déco dancer on a stool. The subject, the typeface an...

Fireplace in gilded wood of the 19th century Elegant gilded wooden fireplace from the 19th century in the gothic style. Measures: 150x135x50 cm.

A Chinese Qing Dynasty period red lacquered signboard with calligraphy. The wood carved signboard showcases large carved Chinese characters with remnants of gold leaf, flanked wit...

Oil on canvas English school marine scene eighteenth century On the back part it has a label with a note in ink: coast of Scarborough-England E...

Tropical depression fabric picture by Sofia Alvarado Dimensions: D185 x W135 x H5 cm Materials: embroidered blackout fabrics / wood frame One of a Kind. FI is an ornamental art...

We offer this surreal brutalist sun sculpture in brass and bronze by Emaus Benedictine Monks, circa 1970. Emaus the name of the workshop of the Benedicti...

A wonderful piece of decorative art titled "in concert". Artist signature hand signed on the bottom right and signed in the plate. Limited Edition numbered 67/100. Edna Glaubman (1919-1986) influential American female artist who lived and worked in Miami from 1961 to 1986, and was part of the original Coconut Grove...

Ceramic charger with bird and sun design embossed into lower front of the plate. Signed and stamped on the backside.

Pair of hands on ceramics (the colonial insulator co) they are work glove molds 11/1/2 Ind . Patent 22615 Aug 1 1955 Jul 27 1955 Country: American They can be used as sculptures or ...

anthropomorphic composition. mixed technique on lacquered wood panel circa 1970.

Original oil painting by multi award winning artist, Paul Gaston Ambille. Born in 1930 and died in 2010. He studied at the prestigious Ecole des Beaux Arts de Paris. His works are ve...

Pair of carved gilt corner wall consoles or bracket shelves, Spain, 1930s. Finely carved pieces with foliage design and original gold leaf gilding. Beautiful patina. Great choice to ...

De Ente Et Essentia VI, 2022, Ela Fidalgo Acrylic, wool and cotton embroidery and patchwork on canvas. Ela Fidalgo has developed her technique using embroidery, acrylic, fabrics, o...

French pair of carved-wood decorative wall panels from the 19th century. This antique pair of wall ornaments from France are each rectangular i...

A large Austrian majolica plate, circa 1880-1890s. The plate represent a publican on a green background surrounded by grapes and leaves with a...

The luster medallion is a hand-formed sheet of aluminum, carefully folded and bent to create a ripple effect on the surface. This piece makes a beautiful addition to walls that need ...

An imposing French sevres porcelain ormolu mounted hand painted framed plaque, depicting a romantic scene with a standing lady and a seated couple fishing, dressed in Eighteenth Century costumes beside a lake with a landscape background. late Nineteenth Century. Mounted within its original ormolu frame. This piece has been later professionally re-framed on an elegant gilt wood frame, the original woven fabric has also been replaced. This piece is not glazed. Condition: Good condition with no restoration to porcelain, no signature visible. Measures: height: (entire as shown on main image, an impressive) 17" (43.25cm). width: (entire as shown on main image) 13.75” (35cm). depth: (of frame) 1.25” (3cm). Location: Dublin City, Ireland. Affordable fixed charge Worldwide Store to door shipping offered...