Hand-Crafted Decorative Art

Antique Japanese wall panel black lacquered mother of pearl Verry good condition

A silver, vintage Mid-Century Modern American wall mirror, composed of polished circular metal coins. Designed by Curtis Jere in good condition. Minor fading, due to age. Wear consistent with age and use. Circa 1970, United States. Curtis Jere is a metalwork artist of wall sculptures and household accessories...

Beautiful collectible plate from the famous Danish artist Bjorn Wiinblad (Bjørn Wiinblad). The plate was designed for Rosenthal, Germany and is deco...

A large vintage Deruta Raffaellesco decorative wall plate with scalloped rim. Majolica hand-painted with magnificent detailing and artwork, extraordina...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

An antique Portuguese wall relief or sopra porte made of Pinewood, in good condition. The Baroque wall panel was hand carved and is richly ornate wi...

Rare and stunning work of lighting art in the manner of Loys Lucha. The glass shande is marked with initials of the artist (picture 3 and 4). If you are passionate about early 20th century decorative art then you will love this striking pendant. What you are seeing here is a one of a kind, hand painted and enameled pendant. With early 20th century lighting being one of our specialities, we too were thrilled when we first saw this amazing design. The combination of the vibrant colors and the unique and artistic motifs in this hand painted glass shade...

A vintage oil painting of a white Persian cat. This sweet painting, by Beno Boleradsky (a well-known Hungarian artists), depicts a playful white cat, wit...

Outstanding Japanese contemporary two panel "byobu" or folding screen featuring genryoku style handcrafted raised pure silk kimono in black, red and gold on textured black background...

Early Giovanni Battista Piranesi Castel Sant'Angelo Veduti Di Roma Wall Decor . Large 18th Century Etching / Engraving Of The Ruins Of Rome An Early Print Of Castle Saint Angelo By G...

A striking image from 1972 by Friedensreich Hundertwasser titled Homage to Schroeder-Sonnenstern. It is work number 715 and from an edition of 4200 of which this is number 2860. It i...

Extra large Roman vase printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umber highlights, and matte black details. Light brown mat...

This exquisite stoneware sconce, designed by Marianne Starck for Michael Andersen & Son, features a charming boy holding an urn. In addition to holding a candle, this versatile sconc...

From an important thirty year old New England collection of American Folk Art Pyrography Robert Ball Hughes (British-American, 1804-1868) This original period framed 1866 pyrography on wood panel was created after the painting by Sir John Gilbert (English, 1817-1897) with detailed description and dedication written on the back of the panel using the same technique. A photographed rubbing of the reverse dedication will be included and is part of this description (photo). Frame: 20 inches high and 28.5 inches wide; Site: 13.25 inches high and 22 inches wide This painting depicts the episode from Shakespeare’s Henry VI Part II Act III Scene V in which Sir John Falstaff inspects the recruits mustered by Justice Robert Shallow and his cousin Silence. Falstaff sits in a chair surrounded by his cronies whilst Bardolph leads Bullcalf forward. Hayman’s treatments of Falstaff reviewing recruits are perhaps among the most successful depictions of a theatrical scene in British painting. The tableau vibrates with the energy that he brought to his Vauxhall supper box scenes of games and dancing, and is filled with the humour and observation of his portraiture. Every figure is in motion and proclaims its own individuality. About Robert Ball Hughes (British-American, 1804-1868) Known as Ball Hughes and also using that as a signature, this man was a sculptor and wax-portrait artist. He was born in London, England, and died in Dorchester, Massachusetts. He studied and exhibited at the Royal Academy in London as well as at the Pennsylvania Academy of the Fine Arts and the National Academy of Design in New York City. He emigrated to New York in 1829, having earned much prestige in England. In New York, he received many commissions for portrait busts in bronze and wax. Among his subjects were John Trumbull, Alexander Hamilton, and Washington Irving. From 1838 to 1840, he worked in Philadelphia and from 1840, worked in Boston. In his final years, he began to produce pyrographic wood pictures (pyro engravings or "poker pictures"), including The Witches of MacBeth (c. 1840), Babylonian Lions (1856), Don Quixote in His Study (1863), The Trumpeter (1864), General Grant...

Asian Chinese imports oval metal brass tray, hammered and chiseled, engraved with dragons and different scenes of wild animals, ancient pagodas homes an...

Antique book printing / engraving plate - featuring stems of Geranium and Currant plants with titles - unsigned - walnut frame - country of origin unknown - 19th century. Excellent antique condition - no loss - no damage - no restoration - oxidation of the metal plate in areas - signs of age and use. Printing plate...

A wonderful and rare pair of circa 1815 English regency "boulle work" or "buhl work" still life pictures, the parcel-gilt black lacquered cove-mold frames of rectangular form having ...

Scandinavian Swedish 1960s Wall Hanging Crewel Tapestry Picture Wall Art A very well executed hand produced Swedish crewel needlework, wood and silk th...

Rosemarie Toogood was a mid-century California artist, known for her hand-painted enamel art on copper dishes, and in rarer instances ashtrays. Her work often featured original desig...

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

Modern Blue wall decorative panel handcrafted in Italy by Cupioli Available. Artistic wall panel, a tribute to the artist Alfred Roller. This art...

Antique and unique wall coatrack with amazing alabaster carvings. It is not often that you find an antique that is not completely original, but where they have done a great job in creating a, so called, marriage that simply looks beautiful. This handcrafted wall coat rack was made around 1900-1910, but the exeptionally detailed, hand carved alabaster tiles date back to circa 1850-1870. These mis-Victorian works of beauty are hand-carved in deep relief and both the fruits in the vases as the scrolling leaf patterns in the center tile are among the most detailed we have ever seen. All three tiles have no breaks in them and only minor losses. So if you are looking for a unique antique wall rack...

Italian plaster medallion from the early 20th century, featuring a finely executed bas-relief representation of The Judgment of Paris. The piece is crafted in plaster and finished wi...

A light-blue, vintage Mid-Century Modern Italian wall mirror made of hand blown crystal glass. Original colored mirror glass, enhanced by detailed flower decoration, designed by Luig...

One of two etching printed ancient profile print with gold leaf background hand-gilded and enhanced with a square frame made of mirrors and gilded with gouache and burnished with a s...

A large solid cast polished brass door knocker sophisticated in shape and design. A substantial Georgian style early twentieth century brass door knocker. The piece was acquired from...

Elegant hand-watercoloured black silhouette print representing "Amaryllis Aurea", printed on aged paper and accompanied by a beautiful frame made of mirrors and black-painted wood. ...

A gold, antique Swedish Gustavian wall mirror made of hand carved gilded Pinewood with its original mirrored glass, in good condition. Th...

Insika (Screen or Wall Panel) Rwanda-Burundi, Tutsi people Circa 1900 or earlier Natural fibers and dyes H 23 ins (58.5 cm) W 16 ins (40.5 cm) Depth 3 1/2 ins (9 cm) This superb ...

Dimensions - (Frame) H: 16 1/2 in W: 11 1/2 in D: 1 in (Plaque) H: 12 1/4 in W: 7 1/4 in This exquisite Antique Italian Early 20th Century Pietra Dura Inlaid Marble Plaque is a stu...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

Handcrafted "Our Lady of the Sacred Heart, pray for us" banner. It must have taken a highly skilled seamstress an enormous amount of time to create this impressive religious banner....

Touring evening Through a COUNTRY and its CUISINE Good Remembrance Touring Evening. For several years, on the first or second Friday of the month of NOVEMBER, member restaurants have...

One of two etching printed ancient profile print with gold leaf background hand-gilded and enhanced with a square frame made of mirrors and gilded with gouache and burnished with a s...

A vintage midcentury red color silk brocade collectable Japanese ceremonial wedding kimono. One of a kind handcrafted . Fabulous museum quality ceremonial piece in pure silk with ...

This artwork on handmade paper, by artist Sarita Arte, celebrates the organic qualities of Betula Papyrifera (paper birch). This species of birch, found only in North America, is uni...

An oversized antique Asian Buddha head made of hand crafted tropical Hardwood and finished with gilded detailing, in good condition. This large scale wall mounted decorative sculptur...

French three panel decorative painted canvas folding screen with dogs playing in landscape scenes, perched musical monkeys, and foliage motif. Early 19th century.

A black-yellow, dark green antique Austrian still life oil on canvas painting depicting a clear glass vase with many flowers painted by Franz Xaver Pieler in a hand carved, original gilded wood frame, in good condition. The colorful painting depicts a dining table in a DIM room, representing the 19th...

Print from the Collection Botanique Black and White representing Aloe Americana, with a beautiful wooden frame enriched with a jute passpartout, which brings out colors and sumatute ...

Handcrafted Ken Edwards ceramic plate Tonala Mexico Folk Art Pottery. Vintage Ken Edwards Mexican ceramic birds and flowers from Tonala Pottery. ...

A rare and striking mid-century wall art piece by Canadian ceramic artist Maurice Chalvignac, dating from the 1960s. This work features a hand-sculpted pottery relief of a wine bottl...

Middle Eastern Egyptian style (19th Century) small copper and silver deposit round charger / wall plaque with 3 figures and a harp centering various Egyptian motifs. Mounted on a stand.

17th C Neapolitan School Painting Oil Canvas Old Master Mola Giovanni Battista . Circa 1600’s important Painting Oil on Canvas painting of a boy with a bird, in original Hand carved...

Pair of Vintage Original Etching Limited Edition " La Tricorne" 1958 Signed Print by Salvador Dali, Framed with Linen Matting, Wire Hanging Devise...

Important 19th Century Italian Parade Plate Polychrome ceramic, with a wide brim, short frill, and a wide base. Reverse with ring support. Decoration on the rim with harpies and fan...

Part of Marcin Rusak’s signature Flora collection, the wall-hanging Flora Lens 65 constitutes a unique decorative piece that works well in a variety of settings. Based on discarded f...

Unique and stunning work of lighting art. If you are passionate about early 20th century decorative art then you will love this very rare (or possibly unique) art glass light fixt...

Arts & Crafts Large stained glass window circa 1900-10. Beautiful archway shape highlighted by warm floral motifs. Good original condition. ...

Framed French Louis Vuitton Art Print in an Italian 19th Century Frame Louis Vuitton Print from Paris, France, framed in a one of a kind circ...

Highly stylish and marvelous design Art Deco wall barometer. This stylish antique from the early 1900s is a dream of anyone with an Art Deco (inspired) interior. This design could...

Decorate a powder room or a lady's bathroom with this elegant vintage wall plaque. Crafted in Limoges, France circa 1930 and oval in shape, the exquisite wall decor by Camille Faure ...

Print from the Collection Botanique Black and White representing Canna Indica, with a beautiful wooden frame enriched with a jute passpartout, which brings out colors and sumatute of...

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 ...

Marquetry Panel – Alpine Lake Attributed to Pierre Rosenau – Art Nouveau, Early 20th Century An elegant marquetry artwork depicting an Alpine lakeside landscape. The composition, e...

A true embodiment of the Artist's style of combining different mediums, this wall sculpture echoes a festive moment in time, Drawing inspiration from the Artist's moroccan roots. This sculpture is an hommage to the talented women weavers of Morocco that the artist got to meet on her last weaving in retreat in Marrakech. Handwoven with raffia and jute. The ceramic face...

Hang finished artist mural made of copper elements on a metal lattice frame. Hand cut and hand shaped copper squares with a great pattern.

Drawing framed, dated and signed.

These Christmas Stockings were made from mid 20th C. Uzbek Velvet Fragments. Please note these were made from vintage Uzbek Velvet fragments.