Hand-Crafted Decorative Art

Art nouveau mirror attributed to Louis Majorelle. Very beautiful and elegant wall mirror, created during the Art Nouveau period in France, back in the 1900. Made in precious wood ...

Weave: A piece of 3D sculptural wall art designed and made from two layers of putty coloured leather, woven together by Louise Heighes. Measurements are 45 x 29 inches or 114 x 7...

Wave: A piece of 3D sculptural wall art designed and made from two layers of cream leather, woven together by Louise Heighes. Measurements are 29 x 45 inches or 114 x 74 cm. T...

A stunning set a five vintage Italian hand stitched, fine leather and solid brass stirrups, Borrella Roma, made in Italy stamped in the leather. These are works of art suitable t...

Treason wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Like a crumpled up piece of paper, Treason embodies ...

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...

Freedom Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Wall art with Greenapple exclusive design printed on glass with Swarovski crystals...

Alfama Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Alfama wall art has an exclusive hand-painted design by Greenapple, inspired by the P...

Lusitano Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Wall art with exclusive Greenapple design printed on glass with handmade Swarovski®...

Alfama Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Alfama wall art has an exclusive hand-painted design by Greenapple, inspired by the P...

Freedom Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Wall art with Greenapple exclusive design printed on glass with Swarovski crystals a...

Alfama Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Alfama wall art has an exclusive hand-painted design by Greenapple, inspired by the P...

Alfama Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Alfama wall art has an exclusive hand-painted design by Greenapple, inspired by the P...

Majestic Wall Art Piece, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. A sublime piece of wall art conceived to restructure the surrounding space. Simple, sublime, majestic. The Miel onyx details form an exquisite combination with the golden cross...

Les Argonautes - Mid-Century Modern French Ceramic, Saint Michael - 1960s, Signed Glazed ceramic plate representing St Michel. It is a decorative work of very beautiful size. There ...

Composition of 18 antique botanical prints from the iconic encyclopaedia "Histoire Naturelle" Buffon 1749-1804, each print is individually matted an...

A beautiful antique North African Tuareg Sahara bag. Tribally hand crafted, dyed, embroidered, leather bag with long fringe. The Tuareg are Berber...

This wall decoration piece is a registration of jacaranda seeds from the state of Oaxaca, Mexico. This organic modern style is perfect to decorate kitchen spaces or dinning room area...

1950s to 1960s School room teaching aid oversized abacus made by Lotus-Flower Brand with rosewood stained wood and brass accents / fasteners. This was designed to be seen in the back...

A beautifully designed, decorative and stunning feather and fabric collar by famed fashion designer K. Lee Manuel. The piece has been professionally mounted and artfully framed in an acrylic box frame...

Chains echo different emotions in us, some see them as a symbol of imprisonment, and vulnerability and some see as an emotion of inter connectivity and strong bond between the people. The truth is ,chains as we see them in the moment will either resonate the first or the latter symbolism depending on the emotions we feel at the moment. This eye-catching wall hanging adds a nomadic and mystical feel to any room. Created through a hand-intensive process of linking hand built stoneware rings of different sizes, this wall hanging is a dynamic decoration for an eclectic bedroom...

Early 20th century antique French scourtins, circa 1900 to 1930s. These coarse round mats, made from the fibers of coconut shells, were historically used as a filter in Provence's ol...

Chains echo different emotions in us, some see them as a symbol of imprisonment, and vulnerability and some see as an emotion of inter connectivity and strong bond between the people. The truth is ,chains as we see them in the moment will either resonate the first or the latter symbolism depending on the emotions we feel at the moment. This eye-catching wall hanging adds a nomadic and mystical feel to any room. Created through a hand-intensive process of linking hand built stoneware rings of different sizes, this wall hanging is a dynamic decoration for an eclectic bedroom or living room. Hand built from two stoneware clay bodies, Each link is carefully attached to a neighboring link and seamlessly joined to form chains. This chain is made all attached/ closed circle and measures about 120" from first light ring to last dark ring...

Textile Art, Hand-crafted, Knit and Crochet Art Blanket, Knitted Tapestry, Wall hanging, Affordable Art. Sky with fluffy clouds and sun above a geometric landscape inspired by the w...

Mixed media on paper and wood behind aryl glass Mimmo Paladino, Italy 2009 (2/20) Mimmo Paladino found art inspired by his uncle, a painter who introduced him to traditional techn...

"Lipland" Handcrafted Wall-hanging /Long Striped Blanket with Knitted Lip detail. Knit and Crochet Art Blanket, Textile Art, Hand-crafted, Knitted Tapestry, Vibrant colour, Wall ha...

Textile Art, Hand-crafted, Knit and Crochet Art Blanket, Knitted Tapestry, Wall hanging. A pair of non-identical multicoloured Psychedelic eyes, the owner has the freedom to display...

Sunny Sky Handcrafted Knit/Crochet multicoloured Sky Landscape Wallhanging Textile Art, Hand-crafted, Knit and Crochet Art Blanket, Knitted Tapestry, Wall hanging, Affordable Art....

Textile Art, Hand-crafted, Knit and Crochet Art Blanket, Knitted Tapestry, Wall hanging, Applied Art. This large, playful textile piece depicts elements from an artist's studio, a l...

Large vintage Moroccan round brass tray, wall hanging decorative platter. Circa 1950s. Engraved and embossed large 38 inches round midcentury Moroccan brass tray. Circular large me...

This is an iron lattice-like frame that was attached to the windows and doors of old Japanese storehouses. Presumably it was made for security purposes. It is believed to have been...

V. HANON (unknown artist/maker) - 'Mother & Child' - Modernist enamel painting on copper panel - float mounted on wood panel - hanger to the back - country of origin unknown - mid 20...

Unique and large Victorian rifle rack with width open box at the bottom. This highly decorative and good condition gun rack for wall mounting could look great above your fireplace...

The shepherdess is lovely. She is seated near her flock under the shade of a leafy tree, wearing a green and white dress and a hat with red trim....

Large ceramic wall tile designed by Helmut Schäffenacker made in Germany abstract decor of a sailing ship hand painted in beautiful expressive colors of blue and orange, thick, irreg...

We are delighted to offer for sale this stunning hand carved original paint Amsterdam sign A very good looking and highly collectable and decorative piece, the paint is original ...

Dimensions- H: 26in W: 15 3/4in D: 2in This Pair French Figural Carved Wall Decorations With Sevres Style Plaques are made of the highest quality and have a stunning look! This pair...

Two beautiful antique and light friezes in gilded wood: one is cm. 40x16,5 x depth 3. The other one is cm. 36 x 30,5 x depth 3,5. To put where you want.

Antique Marksman Shooting Target Plaque with Soldiers An antique wooden shooting target plaque with a handpainted illustration of two soldiers of the Victorian age, a Prussian and...

This antique Persian Islamic engraved tinned copper wall panel decorated with birds and flowers is a stunning piece of decorative art that showcases t...

One of a kind and marvelously hand carved wall sculpture, mid-1800s. For the collectors of only the rarest and the most original. Over the decades we have seen some beautifully cr...

Large rectangular mirror with a very decorative and heavy silver metal frame, for interior use only. Prov. France.

“The Road to the Village” consists of 6 plates -among which a hand painted Delfts Blue plate- combined with a painting of a country road shaded by rows of birch trees with a Dutch village in the distance. This artwork belongs to our "Altered Perspectives" wall art series, in which the ‘perspective’ of the painting is ‘altered’ by combining it with the subject of the decoration of the plates, the sum of the whole being more interesting than the individual parts. Each "Altered Perspectives" composition is the result of finding the perfect selection of plates (based on their subject) and have them dialogue with a painting. We create the layout that can at best highlight the details in the painting and reference the decoration on each plate. Only once we are satisfied with the composition we start the process of creating the artwork. Each plate has a professional hook at the back, and each plate is numbered at the back. Artwork is signed and dated at the back. A diagram showing the placing of each plate on the wall is included in the box. This item ships from Europe...

Very Large Art Platter by Schwieger Decorated primarily with green and brown glazes in a sort of impressionistic landscape design and signed across the back with a sharp tool in wet...

Jaime Hayon & Nani Marquina 'Nani x Hayon' wall tapestry Hayon x Nani, size 120x130, comes with wall hanging solution made with fabric sleeves sewn to the top back of the rug. ...

Gold leaf wood frames. Museum quality mats with gold leaf accents. Provenance David Easton, Inc. New York City Signed: JIM STEINMEYER Date: 1993 -Floral Guest Rooms Interiors by...

By Jane Peacock age 8. With a Friendship poem along with embroidered birds, squirrels, and a charming house in the country with a dog in the yard. A pretty floral vine border on all ...

A beautiful set of four (4) Neoclassical wall art scenes, circa mid-20th century, Europe. Set includes four different scenes with dark blue and gold octagonal wood frame, matting, pr...

German Navy League Shooting Target Plaque with Sailing Ship 1943 An antique wooden shooting target plaque with handpainted illustration of a sailing sh...

"Haarlem Docks" consists of 8 plates - among which three hand painted Delfts Blue plates and one ca 1890 plate from the "MARINES" series of the Petrus Regout factory in Maastricht - combined with a painting of sailboats on the Spaarne in Haarlem. Holland. This one of a kind wall art composition of decorative plates and painting belongs to our "Altered Perspectives" wall art series...

"Tartane in St Tropez" consists of 7 plates - among which one hand painted plate from Stoke on Trent, England and two Belgian plates from the Bosch factory - combined with a painting of a Tartane sailboat off the coast of St. Tropez. This artwork belongs to our "Altered Perspectives" wall art series, in which the ‘perspective’ of the painting is ‘altered’ by combining it with the subject of the decoration of the plates, the sum of the whole being more interesting than the individual parts. Each "Altered Perspectives" composition is the result of finding the perfect selection of plates (based on their subject) and have them dialogue with a painting. We create the layout that can at best highlight the details in the painting and reference the decoration on each plate. Only once we are satisfied with the composition we start the process of creating the artwork. Each plate has a professional hook at the back, and each plate is numbered at the back. Artwork is signed and dated at the back. A diagram showing the placing of each plate on the wall is included in the box. This item ships from Europe...

By S. Norman. With a now brown toned background and overall embroidery with birds, trees, flower baskets and architecture. With an English newspaper on the back. sight 14 3/4 x 12"...

“Sunflowers in a Chinese Vase” includes 1 large hand painted plate from the RAM workshop in Arnhem with a beautiful bird among flowers. The oil on canvas features a vase of sunflowers in a Chinese jar. This artwork belongs to our "Altered Perspectives" wall art series, in which the ‘perspective’ of the painting is ‘altered’ by combining it with the subject of the decoration of the plates, the sum of the whole being more interesting than the individual parts. Each "Altered Perspectives" composition is the result of finding the perfect selection of plates (based on their subject) and have them dialogue with a painting. We create the layout that can at best highlight the details in the painting and reference the decoration on each plate. Only once we are satisfied with the composition we start the process of creating the artwork. Each plate has a professional hook at the back, and each plate is numbered at the back. Artwork is signed and dated at the back. A diagram showing the placing of each plate on the wall is included in the box. This item ships from Europe...

Alessio Tasca 'Inverno' Decorative Plate, Italy, 1950s. Wonderful and playful early work of artist Alessio Tasca from Italy. Famous for his plastic and very distinct sculptures an...

Handmade relief tiles in warm brown and yellow glazed colors. Manufactured around 1920 by Gilliot Hemiksem, Belgium. These tiles would be charming displayed on easels, framed or inc...

Stylish and top condition wall clock. Over the years we have sold a few dozen wall clocks and they all had something special about them. For those who have been buying and/or coll...

11 of the 30 sets of 4 f unique antique tiles, with a beautiful Art Deco pattern manufactured around 1930 by Céramiques d 'Hemixem, Gilliot Frères, circa 1940, Belgium. The dimens...

“Red Begonias” belongs to our “Altered Perspectives” series: assemblages of ceramic plates layered with a painting on canvas. This artwork includes 3 European Blue & White plates from the 19th C. and 20th C. The painting features a pot of red begonias in bloom. This artwork belongs to our "Altered Perspectives" wall art series...