European Decorative Art

Fantastic retro design on this 1971 (first-year-of-release in Poland) Polish film poster for American action thriller classic Bullitt Staring Steve McQueen, Robert Vaughn, and Jacque...

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

French Majolica starfish oyster plate signed Digoin Sarreguemines, Circa 1920.

Large Majolica morning glory plate wasmuel, circa 1890.

A wall plate by Delft Porceleyne Fles, after a painting by Willem van de Velde (de Jonge) 1633-1707 A wall plate by Delft Porceleyne Fles with a diameter o...

19th Century Majolica oyster plate Wasmuel (Belgium) decorated with flowers.

Wonderful and rare first-year-of-release country-of-origin UK Quad for classic 60s comedy Bedazzled starring Peter Cook, Dudley Moore and Raquel Welch. We love the striking design by...

Very Rare Colorful 19th Century French Majolica strawberries wall platter signed Longchamp terre de fer. The fruits are in high relief with the leaves and branches. 11.5 inches diame...

Hans Zatzka (Austrian, 1859-1945) a superb quality oil on canvas titled "Spring Love" depicting a standing young maiden holding a wicker basket filled with fresh flower as she is bei...

French Majolica Faience Trompe L'oeil Pickles Plate, circa 1900

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...

French Majolica Frog Wall Pocket Jerome Massier Fils Vallauris, circa 1900. The Massier are known for the quality of their unique enamels and paintings. The Massier family produced d...

Group of six hand-colored engravings of monkeys by Jean-Baptiste Audebert (1759-1800), from his 'Histoire naturelle des singes', which included 62 images drawn and engraved by himsel...

Great images of apples and pears Lithographs with original color. Published, circa 1900 Unframed.  

18th Century French carnation plate , Manufacture of Sceaux. Border déchiqueté. Sceaux ceramics are presented at The Getty Museum and The MET. The ceramic manufactory at Sceaux, outs...

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

Elegant blue and white oyster plate signed Bordeaux Vieillard, circa 1890. Six wells surrounded by blue seaweeds of different kinds.

Beautiful tile mural with the "POMEGRANATE TREE" motif finely painted. Quantity: 10 tiles Tile mural size: 11.8"W X 29.5"H (30cm X 75cm) Tile size: 5.9"W X 5...

Beautiful tile mural with the "PORTRAIT" motif finely painted. Quantity: 117 tiles Tile mural size: 53.1"H X 76.7"W (135cm X 195cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: P...

Large French Majolica cicada wall pocket from Provence. Height / 7 inches.

Framed set of four vintage herbaria, (circa 1930-1949, Sweden). Each herbarium (botanical) measures: 15.75 inches high x 9.5 inches wide and floats within a...

English Blue & White Dragon Plate Circa 1920. Signed Booths.

19th Century large blue & white platter "Jardiniere" signed Sarreguemines. Measues: 10.3 inches diameter.

A rare set of 35 polychrome Dutch Delft tiles with flowers. Made in The Netherlands. Circa 1620 - 1640. This set of tiles is of fine quality and has a bright glaze. They date to the...

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...

Wonderful image of Anne Hathaway's Cottage Tipped in plate. On card Lithograph. Published C.1920 The measurement given is the card size not the actual printed image.

Very rare late 19th Century, "The Original Holden's Mannikins", original vintage theatrical Vaudeville play linen backed one-sheet movie poster (one sheet; measures 28" x 42", actual poster size 27" x 41". Early Vaudeville Marionette, Automata and Mannequin poster with vibrant colors, another one can't be found. The playbill poster features vibrant illustrations of Clowns, Skeletons, Royalty, Cowboys, Mimes, Nurses, Fairies... This poster has an address for a theatre in St. Martin Paris, France. From the book; The Holdens: Monarchs of the Marionette Theatre by John McCormick The Holden family were the most celebrated English marionette performers of the nineteenth century. The trajectory of the Holdens provides a vivid example of developments in entertainment across the century. Having begun on the fairgrounds, they moved on to large halls, theatres and music halls. At the height of their popularity, when they had two main companies in operation, the Holdens were even better known abroad than at home. Their name was almost synonymous with puppetry, and they were credited with every innovation in marionette theatre. Then, with the advent of cinema, their business suffered a rapid decline. Based on extensive archival research and lavishly illustrated with photographs, sketches, diagrams, playbills and posters, The Holdens: Monarchs of the Marionette Theatre explains why the Holden shows had such impact and were so frequently imitated. Below are two newspaper reviews from 1903 and 1907. Holdin’s Mannkins Location: New York City Theater: New York Date: 1903 Type: Marionette, Automata and Manikin This is another of Mr. Keith’s acts and it is safe to say that we have never seen marionettes in this country before. The general fitting up of the act is great—had a fine stage with a full set of scenery, and everything is first class order—strongly, and it is hardly possible to conceive how people can produce the effects that they do by the manipulation of strings. Every move made by these little figures is absolutely natural and life-like, and the audience were quick to appreciate this fact and were most hearty in their applause. The act is closed with a transformation feature which was very pretty and attractive. It is an exceptionally strong turn throughout. 24 minutes, full stage. Source: University of Iowa, Keith-Albee Vaudeville Collection, Manager Reports, 2 September 1902-3 September 1903. Holden’s Manikins Location: Philadelphia Theater: Keith's Date: 1907 Type: Marionette, Automata and Manikin 22 min, F.S., 2 shows. On at 8:04. This is a children’s feature. I doubt whether it would be so well received at any other than about Christmas time, but it quite won the house. The manikins performs various simple stunts, such as dancing, Punch and Judy comedy, etc. The finish of the act was a spectacular feature without moving figures, which did not run as smoothly as it should have done. However, the act will certainly please the little folks and it cannot be conceived how the wooden manikins can be manipulated so life-like. Holden got a good hand on his appearance after the act...

This exquisite handmade quilt, The Chrysanthemum Quilt, is a stunning work of art, blending meticulous craftsmanship with a vibrant design. Inspired by master Japanese quilter Hiroe ...

We love Boris Grinsson's design and colours on the French Grande film poster for From Russia With Love. This first release from 1964 is super rare and is in fantastic condition. In...

An extraordinary Original Lithograph of Renaissance Medici Pope, Leo X (1474-1521). Beautiful hand crafted Biedermeier Frame. We believe it is from the 1860s. Viewable picture size ...

19th century, French hand-hammered plaque historicizing Vercingetorix receiving an award of recognition, circa 1850. Vercingetorix (82-46 BCE) was a French Gallic chieftain who ral...

Pablo Picasso Tormented face. Ceramic plate 1956. Large unglazed light earthenware charger with raised design from the “Tormented Face” series . Produced by Madoura in 1956. Numbered...

A gorgeous antique 19th-Century English majolica oyster plate, circa 1870-1890. This fine quality oyster plate has six wells with lovely soft shades of turquoise, blue, and lilac. It...

Carvings with a military, musical, hunting, or agricultural theme, known as trophies, became popular during the period of Louis XVI. This pair of large trophy panels have Neoclassica...

Original 18th century color engraving print by renowned artist Pe. F.H. Bruegel. A fine crisp impression of great rarity; it is particularly unusual to find color engravings of th...

French Majolica Bird Plate signed Nimy Les Mons, circa 1890.

"Tafla O4.5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: AURUM (2021) Material: Polished stainless steel Finish: Lacquer - Classic gold Size: 86 cm Zieta is best known for his collection of stools “Plopp” made through the technology FIDU. With the same principle Zieta Prozessdesign conceived mirror collections made of stainless steel called “Tafla”, “Rondo” and “Rondel”. Two laser-cut metal sheets are first welded together before air is injected between them until they separate from each other forming a three-dimensional object. The 'Tafla O' collection has a glossy steel finish inspired by drops of water. Its shape makes the mirror modern and contemporary. The 'AURUM' collection presents Tafla O mirrors...

Framed 'Mimoides Pausanias,' 'Dione Juno,' and 'Haetera Piera' butterflies with coordinating 18th century Italian fragments. The butterflies all share beautiful color and pattern com...

19th Century Majolica Palissy crawfish platter signed Thomas Sergent. Frog, Lizard,shells and leaves.

Wonderful image by Harry Clarke Lithograph. Published C.1920 Unframed Free shipping

French Majolica cicada wall pocket from Provence. Height / 5.5 inches.

Stainless Steel Tafla O5 Wall Mirror by Zieta Dimensions: D 6 x W 40 x H 60 cm. Material: Stainless steel. Finish: Polished. Available ...

French Majolica plate signed Choisy le roi, circa 1890. Decorated with leaves, ferns, pink flowers and Greek border.

From our Hand painted Furniture Collection, we are pleased to introduce you to our Hand decorated Panel featuring a lush bouquet of flowers and pomegranates on a sweetly curved antiq...

Rare Majolica pink flower wall pocket signed Delphin Massier, circa 1880.

This is an amazing set of antique Art Nouveau handmade tiles with an image of yellow rose in relief on a soft yellow background. These tiles would be charming displayed on easels, fr...

WarGames is a 1983 American techno-thriller film directed by John Badham. Great artwork by Mieczyslaw Wasilewski on this Polish first-year-of-release poster. The end of the Second W...

Add a striking touch of modernist character to your space with this Mid-Century Modern inspired abstract collage, created in Spain circa 1990. This dynamic composition features a com...

Herend Hungary Porcelain "Indian Basket" wall decoration plate Herend Hungary porcelain plate for as decoration to hang on the wall, with openwork edge Beautiful hand painted pla...

"Tafla O2" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: AURUM (2021) Material: Polished stainless steel Finish: Lacquer - Classic gold Size: 150cm Zieta is best known for his collection of stools “Plopp” made through the technology FIDU. With the same principle Zieta Prozessdesign conceived mirror collections made of stainless steel called “Tafla”, “Rondo” and “Rondel”. Two laser-cut metal sheets are first welded together before air is injected between them until they separate from each other forming a three-dimensional object. The 'Tafla O' collection has a glossy steel finish inspired by drops of water. Its shape makes the mirror modern and contemporary. The 'AURUM' collection presents Tafla O mirrors...

These are four attractive individual Delft ceramic wall tiles, dating to the second half of the 19th century. All tiles are nominally 5 inches square and 5/16 to 3/8 inches thick....

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

A terrific ceramic wall piece of Bacchus by the Italian ceramic artist H Bertoni. This piece features a roman male figure with an harp resting on a s...

Bjørn Wiinblad wall Plate, produced by Rosenthal. ALADIN in the Enchanted Garden #4 Wall Plate Bjorn Wiinblad Rosenthal. Vintage porcelain collector plate by Rosenthal Studio Line, Germany from the series " Aladin im Zubergarten" plate "Aladin und die Wunderlampe IV". This decorative wall plate is titled "Aladin im Zaubergarten eingesperrt" (Aladin in the Enchanted Garden) and is number 4 in the collectible series of 12. The plate includes hanging hardware affixed to the back, shown. The various colors, together with the gold, make these plates true and precious collector's items. Bjørn Wiinblad porcelain Rosenthal Studio Line Collectable Plate. In pristine condition. Dimensions: 6.25 in. diameter. Artist: Bjørn Wiinblad. Plate Number: 4 (series of 12) Title: Aladin in the Enchanted Garden Hardware: Fixed, hanging. Aladdin and the Magic Lamp series was designed in the 60s by the Danish artist and chief designer of Rosenthal, Björn Wiinblad. Connoisseurs of Wiinblad's work know that this great artist worked in various industries and fields in the 20th century and had his works in renowned museums such as the Victoria and Albert Museum in London, the Museum of Modern Art in New York, the National Museum in Sweden, were collected from the Moderna Museet in Copenhagen and today have a high collector's value. Rosenthal is a German company that is well-known for its production of high-quality porcelain and other luxury goods. The company has a long history, dating back to the late 19th century, and it has collaborated with various artists and designers over the years to create unique and artistic pieces. This Bjorn Wiinblad Vintage Danish Modern Rosenthal porcelain " Aladdin " collector's decorative plate is a very special and unique piece to add to your collection. The porcelain collector's decorative wall plate is made by Rosenthal Studio Line, Germany from 1976 - 1982. Made of fine porcelain, the round decorative plate features a beautiful multicolor design of Aladdin with special metallic gold details. It is signed in the plate lower front and has an attached hanger on the reverse back side for easy wall installation. Characteristics of Wiinblad's work include whimsical round faced people, dressed vaguely in 19th Century costume. They are often surrounded by natural elements : twining vines, floral wreathes, and fantastical trees. When Wiinblad employed color, he did so with great assurance. His color palette is saturated and strong, often accented with metallic gold or silver. Bjørn Wiinblad was a Danish painter, designer, and artist known for his distinctive and whimsical style. He gained international recognition for his work, which often featured imaginative and decorative elements. Wiinblad was active from the mid-20th century until his passing in 2006. Bjorn Wiinblad ( 1918 - 2006 ) was a Danish painter, designer, and artist known for his distinctive and whimsical style in ceramics, silver, bronze, textiles, and graphics. He gained international recognition for his work, which often featured imaginative and decorative elements. His artworks have been exhibited internationally since the early 1950's. Wiinblad was named Man...

19th century English blue and white "Wild Rose" plate. The plate are decorated with wild roses on the border, the central pattern is a rural landscape, bridge and river.

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