Art Glass Wall Decorations

Anish Kapoor style concave mirror. Sculptural green glass mirror, with brass wall fixing. Excellent quality mirror with amazing reflections. Available in pink gold, copper and b...

A beautiful woman portrait in the glass closed. A stained glass technique in glass gives a magical atmosphere when light falls and changes the color palette intensity during the course of the day. An Antique stained glass panel...

The reversed glass painting has been made circa 1800. The picture has beautiful colors and is in the original condition. The beautiful painting is also in the original frame.

Reverse glass portrait of a child in stained glass and jeweled glass frame, American, circa 1900–1910. This striking object unites the delicate intimacy of reverse glass painting wi...

TIFFANY The first one, Audrey inspired the iconic Introducing Sabrina's breathtaking collection of Tiffany lamps. Year after year Sabrina Landini perpetuates its exceptional exp...

Sunnymoon is born. jade silvered - satin silvered Inspired by the clear sun light and the calm moon light, that are combined here. From the classic silhouette of our iconic Two-be ...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

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...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

Sunnymoon is born. blue silvered - satin silvered glass Inspired by the clear sun light and the calm moon light, that are combined here. From the classic silhouette of our iconic Tw...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

TIFFANY The first one, Audrey inspired the iconic Introducing Sabrina's breathtaking collection of Tiffany lamps. Year after year Sabrina Landini perpetuates its exceptional exp...

Sunnymoon is born. rose silvered - satin silvered Inspired by the clear sun light and the calm moon light, that are combined here. From the classic silhouette of our iconic Two-be a...

Art glass organic sculpture, contemporary work of art by an American artist, who studied with some of the most esteemed glass Masters in Murano. The idea of setting free imagination and creativity is magically embodied through the medium of blown glass in the representation of soaring sparrows, flowing out freely on the wall, in textured colors, teal blue, white with copper gold sparkling metallic inclusions. This sculpture as a whole comprises 7 birds in the sequence...

Poster in 1985 created for the exhibition "David Hockney Images and thoughts for Vogue magazine" for the Galerie Claude Bernard in Paris. It promoted the work that the artist created...

One of a kind, large sculptural round red concave glass disc wall sculpture, Italy, 2024 reminiscent of an Andy Warhol pop art sculpture. Large round tinted glass in a dramatic red h...

Fantastic black and red abstract lithograph on paper beautifully framed in a shadow bow frame with museum glass. Hand signed and numbered. Antoni Tàpies was born on December 13, 19...

This is a nice, antique, oval tiger wood veneer frame with convex / bubble glass. Inside, is an print with various fruits. This is a nice, solid frame, showing some typical cosmet...

Large Signed Frame Picture Battle of Trafalger by Montague Dawson. Print with Original sigmature. Montague Dawson RSMA, FRSA was a British painter who was renowned as a maritime arti...

Poster in 1985 created for the exhibition "David Hockney Images and thoughts for Vogue magazine" for the Galerie Claude Bernard in Paris. It promoted the work that the artist created...

One of a kind, large sculptural round red concave glass disc wall sculpture, Italy, 2024 reminiscent of an Andy Warhol pop art sculpture. Large round tinted glass in a dramatic red h...

TRILOGY Three in one. Rays of lights embracing each other For 20 years we explore the three-dimensionality of each item, sculpted by the artisan hands in our Atelier. The Trilogy's...

Emile Jacques Ruhlmann (1879-1933) We are proud to showcase an exceptional and unique tall glass panel originating from the Drouant Restaurant in Paris, designed by Ruhlmann in 1924...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

Signed Titanic Picture of The Maiden Voyage to Disaster by John Smith 141/750Signed Titanic Picture of The Maiden Voyage to Disaster by John Smith. 141/750 Signed prints. The Maiden Voyage to Disaster is a print by John Stephen Smith that depicts the sinking of the Titanic. The Titanic sank in 1912 after striking an iceberg on its maiden voyage from Southampton, England to New York City. The ship's captain, Edward John Smith, died in the disaster and his body was never recovered. Captain Smith...

This artistic window was handmade in Italy in the 1960s. It's made from a ivory painted metal box, with plexiglass and golden aluminum passepartout. The religious representation is a...

TRILOGY Rays of lights embracing each other In our Atelier beats the heart of a living heritage, that of craftsman-ship. For 22 years we explore the beauty of sculpting each single...

Abstract glass Large 20th century design abstract molten glass art wall pannel Orignal good conditions Height 78 cm Large 43 cm Depth 7 cm

Signed Titanic Picture of The Maiden Voyage to Disaster by John Smith 141/750Signed Titanic Picture of The Maiden Voyage to Disaster by John Smith. 141/750 Signed prints. The Maiden Voyage to Disaster is a print by John Stephen Smith that depicts the sinking of the Titanic. The Titanic sank in 1912 after striking an iceberg on its maiden voyage from Southampton, England to New York City. The ship's captain, Edward John Smith, died in the disaster and his body was never recovered. Captain Smith...

Art glass organic sculpture, contemporary work of art by an American artist, who studied with some of the most esteemed glass Masters in Murano. The idea of setting free imagination and creativity is magically embodied through the medium of blown glass in the representation of soaring sparrows, flowing out freely on the wall, in textured colors, teal blue, white with copper gold sparkling metallic inclusions. This sculpture as a whole comprises 7 birds in the sequence...

Rare Art deco colorful glass corner shelving for wall with a flapper girl on the top, circa 1930s. Includes hardware for hanging. 17” H x 10” W x 7.5” D

Lithograph by Mihail Chemiakin, Russian / American. 1960s.

Stunning now, stunning forever. Crafted to stand the test of time, our Life mirror becomes family heirloom for future generations that can be passed down and cherished for years to c...

Anish Kapoor style concave mirror. Sculptural green glass mirror, with brass wall fixing. Excellent quality mirror with amazing reflections. Available in pink gold, copper and b...

A beautiful woman portrait in the glass closed. A stained glass technique in glass gives a magical atmosphere when light falls and changes the color palette intensity during the course of the day. An Antique stained glass panel...

Unique Brutalist wall sculpture made of a concrete substrate and Murano glass shards mounted on a metal base with lighting mechanism behind. Sconce illuminates beautifully and offers...

Italian illuminated wall art by Albano Poli for Poliarte is an abstract relief and wall light at the same time. The rectangular structure is in sa...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

TRILOGY Rays of lights embracing each other In our Atelier beats the heart of a living heritage, that of craftsman-ship. For 22 years we explore the beauty of sculpting each single...

Monumental Mid-Century Modern Abstract Wall sculpture attributed to John Reisetter . Reisetter was one of the known sculptors who worked for The famous ...

Entirely made in Tuscany, Italy. This object is a -always beautiful– piece to décor interiors from Classic to Contemporary style. The heart of Two-Be and Two-Free, designed by Sabri...

A impressive collection of 25 Parisian framed chromolithograph plates of "New models of wood and marble", by Eugène Berthelon The pictures also have there original folio and informa...

The stained glass features a woman in a flowing dress, which suggests a design influenced by the Art Nouveau movement, popular from the late 19th century through the early 20th centu...

Higgins Studio Art Glass Modernist Fused glass hanging planter or wall pocket, signed. 20th Century signed 'Higgins Studio.' dimensions: 37 x 7 inches. ...

WALL BUTTERFLY Colored glass wings are dancing in the sky Since 20 years, we have perpetuated our unique manufacturing method. Inspired by unlimited glass reflections, Sabrina Landini has created an elegant home collection. Wall Sculpture Butterfly, an ethereal object inspired by the sense of freedom. This magnificent creation features colored hand cut and hammered glass, sprinkled across silvered tones spanning over its surface irregularly, an artful blend of the iconic collection...

Large Signed Frame Picture Battle of Trafalger by Montague Dawson. Print with Original sigmature. Montague Dawson RSMA, FRSA was a British painter who was renowned as a maritime arti...

A wonderful poster advertising three concerts in February and March 1967 at London’s seminal hippy hangout, UFO Club. The club was on Tottenham Court Road in London and this poster promotes concerts featuring Pink Floyd, Soft Machine, and the Brothers Grimm. This poster was designed by Michael English...

Unique and large Brutalist wall light sculpture made of amber and clear pressed glass mounted on a metal base with lighting mechanism behind. Heavy duty. Made by Biancardi and Jordan...

Typical 1960s glass mosaic. Two children playing with a bird. 1960s Holland. Little tiles on a thick plaster base. Very nice and decorative piece.

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

A wonderful mosaic of ceramic and iridescent tile that captures the vitality and color of a neighborhood in Paris with small shops, a cafe, a pharmacie, along a tree lined boulevard ...

Mid-Century Modern Unity wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Unity wall piece represents the strength that rises when the whole ...

Special slabs available Two-sided Curved Extra treatments Temper glass Non-slip finishing Special glasses Borosilicate glass Finishings Chrome, Opalescent, Satin Uses Wall or flo...

Mid-Century Modern Breeze Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Breeze modern wall decor captures the essence of a massive, crashi...

This charming pair of 19th-century stained glass panels showcases the revered images of Saint Justa and Saint Rufina. These beautifully crafted panels, joined with lead, highlight th...

A combination of special techniques and process has created glass sheets that capture the timeless and limitless beauty of precious stones, lava rock, as well as dream landscape. Th...

A combination of special techniques and process has created glass sheets that capture the timeless and limitless beauty of precious stones, lava rock, as well as dream landscape. Th...

Special slabs available Two-sided Curved Extra treatments Temper glass Non-slip finishing Special glasses Borosilicate glass Finishings Chrome, Opalescent, Satin Us...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

Original Exhibition Poster by Christo and Jeanne-Claude. Running Fence: 5.5 meters (18 feet) high, 39.4 kilometers (24.5 miles) long, extending east-west near Freeway 101, north of S...

A combination of special techniques and process has created glass sheets that capture the timeless and limitless beauty of precious stones, lava rock, as well as dream landscape. Th...

A combination of special techniques and process has created glass sheets that capture the timeless and limitless beauty of precious stones, lava rock, as well as dream landscape. Th...

Original Exhibition Poster by Christo and Jeanne-Claude. Running Fence: 5.5 meters (18 feet) high, 39.4 kilometers (24.5 miles) long, extending east-west near Freeway 101, north of S...

A genuine 19th Century Portraiture on Glass made by Glasspainters of Hertford and signed by the artist. A rare medium used during this period by a specialised English Glasspainters. Depicting either the 6th Earl of Essex (1803-1892): Arthur Algernon Capell or the latter 7th Earl of Essex (1857-1916): George Devereux de Vere...

Celestial I is a unique aqua, grey & clear glass wall-mounted artwork, by the British artist Wayne Charmer. Taken inspiration from the moment that a mass of rock is literally crac...

TIFFANY the iconic lamp! For 20 years, we have been committed to offering you unique collections in terms of design and quality. Using an ancestral manufacturing silvering method, a...

'Calibrated to Balance' is a unique red, green, yellow, teal and amber hand-blown and cut glass hanging artwork with steel frame by the American and Swiss artists, Philip Baldwin and Monica Guggisberg. Exquisitely handblown and cut to the highest quality and refinement, the elements have been composed and suspended on a steel frame ready for wall hanging. Increasingly the artists have become more sculptural in focus, while seeking to imbue their work with a deep connection to archetypal forms and shapes, and striving for the highest level of craftsmanship. They address eternal symbols of human culture and history, primarily through blown glass, but also using steel, and constructions in other materials. Baldwin (1947, New York) and Guggisberg (1955, Bern) have been a collaborative team for over forty years. They share an instinctive appreciation for the subtle blending of art and design, functionality and abstract expression, combined with a love of material – especially glass. The list of museums and collections which have acquired their works is long and impressive. Individual showings, as well as participation in group shows, have given them opportunities to present their works at leading galleries and in major museums in Europe, Japan and the United States and their works rank among the best to be found in the international glass art scene. Working freelance, they have also designed successful products for international glass manufacturers since 1985. Their clients have included renowned firms like Rosenthal, Steuben, Corning and Venini. Over time their work has developed its own distinctive signature, based in Italian cold-working (battuto) combined with the Swedish overlay process for layering colours. They have been pioneers in adapting these techniques and in creating a distinct expression of their own. Colour, light, texture, pattern, and shape together reveal an undercurrent of meaning and value, adhering to the simplest of forms and clear lines. Over the years they have become more sculptural in focus, while seeking to imbue their work with a deep connection to archetypal forms and shapes, and striving for the highest level of craftsmanship. They address eternal symbols of human culture and history, while embracing contemporary evolution in form and meaning. In recent years large installations and major exhibitions in public spaces, such as Canterbury Cathedral...

2 wall plates WMF Style: Jugendstil, Art Nouveau, Liberty year: 1909 Country: Germany Materials: silver plated Several of the WMF objects can be seen in museums. We have specialize...

Art Glass sun sculpture lamp by Felipe Delfinger for Feders. Mexico, circa 1960.