Decorative Art

"Tafla C4.5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: AURUM (2021) Material: Polished stainless steel Finish: Rose gold Siz...

Wall Decoration Butterfly Crystals with frame polished stainless steel. With swordfish artwork on plexiglass with Swarovski carved crystals inserts.

English Majolica vine & strawberries plate, circa 1880. Very rare color. Hairline.

Lovely Majolica pink & purple cyclamens flowers plate signed Schultz Cilli, circa 1900, Art Nouveau.

Roger Capron (1922-2006) - Roger Capron studied at Art appliqués of Paris from 1938 to 1943 before teaching drawing in the same establishment from 1945. In 1946, he settled in Valla...

Mexican Portrait Miniatures of Officer and Wife Medium: Oil on Board, Circa 1845-50 Two intricately detailed oil-on-board miniatures portray a military officer and his wife. The pai...

Studio Zero Milano Object MO6, 1970 Giorgio Tonti, Milan, 1936 Abstract composition "multipli" on the plate, label marked G. Tonti, Studio Zero, Mi...

Important oil on panel by the great Dutch artist Philips Wouwerman (also Wouwermans) (1619 – 1668) a painter of hunting, landscape and battle scenes....

Large Balinese art painting in oil on fabric with flowers and birds. Frame in green lacquered wood. Signed by the author: J.Wikarma'90. Very good/excellent vintage condition.  

This vintage chrome plated Curtis Jere wall sculpture is from the 1970s. It is not signed that we can see. It is authentic. It is a combination of 5 sea creatures we call sea urchins...

A superb set of three Victorian Silhouette pictures. Each depicting children playing traditional games in black ink on glass, circa 1880 in date. The three silhouettes feature, four...

Ferdinand Wagner II (German, 1847-1927) A very fine and charming triptych group of three oil on canvas laid on board titled "An Allegory to Spring" each panel depicting different playful and joyous scenes of putti and a cherubs reminiscent of spring, love and peace. The center panel depicting a seated putto, crowned with flowers, a standing putto behind him holding a sack of arrows and a seated cherub facing him next to a watchful peace dove on top resting of a flower bouquet. The left panel depicting a seated putto next to a standing putto with a freshly harvested apple. The right side panel depicting a standing cherub holding a fig branches with leaves. All three-in-one panels within individually carved giltwood frames. All panels signed at the lower left: Ferd. Wagner, circa 1890. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr...

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.

Sheep Tapestry designed by Studio Ahead. The tapestry is made of custom cream merino wool felt from Northern California sheep. The fluid shapes are inspired by the smooth lines of stones and pieces of driftwood found on Muir Beach...

Painted and gilded papier mache and wood. Decorative with the Beaconsfield crest. Benjamin Disraeli 1st Earl of Beaconsfield was a British statesman, conservative minister, twice pri...

Wonderful print of St Dominic Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

Blue & White Spode Italian dinner plate Copeland circa 1920. 4 plates available.

Beautiful print that is part of a series of four, representing an ancient Italian roman Vase which was found in a garden in Trastevere in Rome. It i...

Rare Oyster Plate signed Robert Picault. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After the war he spent a short ...

1960s modern abstract artwork. This piece was purchased in a gallery in Paris in 1981.

Midcentury large French oyster platter signed Robert Picault.

In the past, amateur entomologists and scientists often collected butterflies. For example, in the Victorian age, it was a wide spread educational leisure activity. This restored and pest-free old collection has about 4.500 butterflies that have been dried and pinned. Thirty percent of the species are European. The origin of the remaining specimens lies, inter alia, in Africa, Madagascar, Formosa, India...

Fontana Arte Madonna and Child Glass and Brass Frame, Italy 1950s One can also change the glass with a mirror.

An authentic English pub sign (one-sided) featuring a painting of a cat playing a violin fiddle - from the beloved fairy tale Puss In Boots - in the light of a streetlamp at night, e...

A set of three mounted hand painted wallpaper panels in simple wood frames. Beautifully and elaborate painted scenes with birds, flowers,...

African style taxidermy large water buffalo skull mounted on oak shield shaped wall plaque (19/20th Cent.)

Great image of golden oriole. 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. P...

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...

Immerse yourself in the artistry of a bygone era with the "Timeless Threads" Tapestry Textile Sculpture, a captivating wall-mounted natural artwork fro...

This print was part of the Dutch edition of "Paardenrassen Kunstalbum" , a portfolio with 41 lithographed plates based on paintings by Eerelman, which depict different breeds of draf...

Wonderful print of St Julia of Corsica Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

An authentic English pub sign (one-sided) featuring a painting of a cricket player with bat and ball, entitled: Worth Brewery - The Cricketer's Arms. A very fine example of vintage ...

Large size, great shape and excellent condition antique coat rack. If you are looking for a stylish and practical coat rack in the Arts & Crafts style then this period piece could be perfect for you. It is truly stylish, entirely original and, as you can see in our images, it is in very good condition. This quality antique is handcrafted from solid oak and it comes with the inlaid, hand painted and glazed tiles. These tiles are extra special, because on top of the glazing are unique, gilt and stylized flower motifs. This luxurious and colorful coat rack also comes with all the original and aesthetically beautiful hooks...

Vintage Mid-Century Modern Cityscape Oil Painting "Skyline V" by M. Baker Signed and Dated 1978. Features an impasto on board depiction of Hong Kong's skyline, framed with a antique...

French Faience Oyster Plate Moustiers Style, circa 1940. Martres Tolosane. Japonisme style.

Beautiful tile mural with the "COUNTRYSIDE" motif finely painted. Quantity: 24 tiles Tile mural size: 47.2"W X 17.7"H (120cm X 45cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origi...

True Arts & Crafts two-tone geometric pair of stained glass windows. Subtle workmanship which exudes simplified elegance. In very good or...

This vintage sign for collectors is truly special. Made of wood with relief decorations and hand painted. The advertising sign was dedicated to the golf attire and equipment.

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 chocolate oyster plate with green seaweeds Luneville. Reference: Page 43 "Oyster plates" of J. Karsnitz.

Blue & white Geometrical Pitcher or Bottle signed Robert Picault circa 1950. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Pa...

Wonderful Gothic architectural print. Balcony in the Campo St. Benedetto, Venice Steel engraving by R.P. Cuff after the original drawing by John Ruskin Published, circa 1880 On w...

Moroccan exotic metallic brocade caftan gown, circa 1970s. The luxurious kaftan is designed with brilliant gold metallic fabric. The front of the elegant caftan gown is embellished with woven gold buttons and loops that run down the centre to the hemline. The cuffs and border seams are accented with handmade applique trim. This exotic Arabic caftan gown makes a very extravagant garment for formal attire transitions effortlessly to casual wear Measurements The gown length from the collar to the hem 52" 1/2 inches The bust measured flat side to side 18" 1/2 inches The complete bust measures 37" inches The shoulders measure 15" 1/2 inches The outer sleeve length measures 24" inches The waist section measured flat 20" 1/2 inches The hip section measured flat 24" 1/2 inches Size small to Medium. Elegant vintage Moroccan caftan lime green and silver lame metallic floral Moorish brocade Kaftan, circa 1970s. This vintage long maxi dress kaftan is crafted in Morocco and tailored for a relaxed fit with wide sleeves This long maxi dress kaftan is embroidered and embellished entirely by hand. One of a kind evening Moroccan Middle Eastern gown. The kaftan features a traditional neckline, embellished sleeves It is a slip on, the button does not open. In Morocco, fashion preserves its traditional style inherited from great civilizations that found their way to Northwest Africa, such as the ottomans and the moors. Moroccan fashion has been recognized for its style and has garnered a reputation, winning awards in international fashion shows throughout Europe. Marrakech Bohemian, Yves Saint Laurent style. The Moroccan kaftans are worn by men and women, at home or at Moroccan wedding or traditional ceremonies. You can wear this traditional Moroccan caftan for your next Moroccan party, at the beach or to relax around the pool. Unisex long Moroccan robe...

Fabulous original vintage French alcohol advertising poster for Old Manada Rum. This French poster is from the 1930’s and features a stunning image...

Antique print titled 'L'Egypte Antique illumine de toutes ses splendeurs notre joyeux Bal (..)'. Invitation card for an Egyptian themed party. Publishe...

Wonderful image by Sutton Palmer Tipped in plate. On card Lithograph. Published C.1920 The measurement given is the card size not the actual printed image.

One of a kind artwork picture or mirror frame. This unique work of wall-art never seizes to draw your attention. Everytime you look at it, you will discover something new, because there is so much going on. The beauty and originality in this modern work of art is that the entire frame is mostly filled with old and antique bits...

A fine pair of French 18th-19th century whimsical rococo style chinoiserie oil on canvas, circle of Jean-Baptiste Pillement. (French, 1728-1808). One oil painting depicting an outdoor patio scene of a standing young mother, holding a fan, with her three young children playing with a horse-toy, a parrot and a cat, all surrounded by flowers, plants, trees, planters and flanked by a dragon fountain...

Great image of a whale. 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...

Painting of a stylized oriental camel by Fabbriziani and Calandra from the 1970-ies Italy. On satin in a kind of silkscreen in limited edition, wooden frame gilded. The black camel i...

Large French Majolica cicada wall pocket from Provence. Height / 9 inches.

Jean Cocteau ceramic dish - "Indes" from 1958 Edition original from Atelier Madeline & Jolly. White earthenware with brown engobe diameter 36 cm. Numbered 20 on 20 copies Bibliog: J...

This unique 20th-century French collection features an exquisite arrangement of plaster intaglios and cameos, carefully mounted on a decorative marbled background and set within an e...

Beautiful original plein air impressionistic and realistic style, oil on canvas painting, features a wooded landscape, with magnificent trees which dwarf a woman and child, who are w...

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.

A manuscript page containing Persian miniature painting, surrounded by script. This artwork is characteristic of Islamic manuscript illumination, pa...

This striking mid-century enameled wall plaque showcases a bold geometric fish motif, reminiscent of the artistic influence of Gio Ponti. Featuring vibrant hues of red, turquoise, an...

Beautiful tile mural with the "ALBARRADA" motif finely painted. Tile mural size: 29.5"H X 35.4"W (75cm X 90cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin: Portugal Production...