Glass Wall Decorations

Twenty framed steel engravings of English monarchs and rulers from Illustrations of English & Scottish History, by Thomas Archer. Published 1880 in Lo...

Auguste Renoir etching, Le Chapeau Epingle "Pinning the Hat", third version from the original 1894 etching. This is an etching of the artist Man...

Collection of 19th Century American and European Lithographs & Engravings Featuring Native American Subjects A compelling group of four framed 19th-century prints, including two fin...

Weathered set of four 19th century French framed prints of labeled prunus. The colored prints are matted and framed in distressed gilt frames behind plates of glass. Various apricots...

This is a hugely decorative collection of early 20th century Italian dried flower specimens framed in a stunning heavily distressed window frame. Not of the period but sets the Herba...

Original exhibition Poster from French artist Marcel Vertes from Galerie 65, nicely framed in very good and clean condition not faded.

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...

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 ...

Reduced forms create fascinating wall sculptures, a play with translucently, ambient light and color. The mirror objects float in front of the wall and create fascinating sculptures ...

The reflective, coloured, rippled glass panel – designed to add a palette of colour to spaces – reflects light in spaces and adds movement and color whilst creating abstracted reflec...

print size is 8x10. Engravings of ancient vessels.

Framed Beautiful Butterfly Wings Composition, circa 1930 Manufactured in France. Materials: Wood, glass Dimensions: D 1,5 cm x W 42,2 cm x H 42,3 cm The artwork is in its origin...

This is a late 20th century chinoiserie pagoda form tole vitrine. There are two available. The interior does have a light. There are two glass shelves with 11 inches separating each ...

Early 20th century, great condition Dutch Arts & Crafts wall clock with original beveled and convex glass windows. Over the years we have sold a few dozen Arts & Crafts table clocks...

Very early twentieth century hand-crafted hardwood wall mount cabinet. Two shelf inside, that are affixed. To shelf liners and three old aluminum flat head screws were inside for mo...

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...

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

Set of 11 lithographs by Salvador Dalí consisting of the following prints: 1. Virgil's Admonishment - Purgatory #5 2. The Neglectful - Purgatory #3 3. Paradise 25 - St. James of Hope 4. News of the Limbos - Inferno #4 5. The Law of Climbing...

Limited edition rainbow-colored glass pill wall installation by Edie Nadelhaft. Set of 8 glass pill sculptures. Edition of 9. Installation size: 38 x x 38 x 4 inches (approx.) Pil...

Early 20th century Italian lithograph hand-colored by Giuseppe Falchetti depicting still life of fruit and flowers, horizontally framed, apples, pea...

Stunning design and top quality executed antique barometer. This late 19th-early 20th century, English manufactured wall barometer has everything that makes an antique worthwhile. F...

F.G. FRASER (Frederick Gordon Fraser) - Antique fine quality Cambridge spring/summer river view - watercolor and gouache painting on watercolor paper - signed by the artist lower lef...

These are a set of FOUR digitally remastered prints of Parrots, hand coloured framed prints, originally from Circa 1800s. Prints of this style we...

Framed fine Chinese embroidery on silk, depicting birds on a branch and peony flowers with character signs at the top left, second half of the 20th century. This embroidery is frame...

A vintage professionally framed lithograph of Johann Sebastian Bach. This print was created after the original Elias Gottlob from 1746. This piece is in black on a creamy white paper...

PIERRETTE VILLENEUVE (b.1944 - Aboriginal Metis Huron Wendat) - 'Les Patineurs - Canal Rideau' (The Ice Skaters - Rideau Canal) - Vintage watercolor painting on paper - original meta...

Antique Black Forest-style German hand-carved linden wood deer head on a carved wall plaque. An impressive antique hand-carved wall-hanging deer head made of linden wood with wooden ...

"OKO 75 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 75 x 6 cm. Zieta is best known for his collection of stools “Plopp” made through the...

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...

Add a pop of color and cultural artistry to your space with this stunning Vintage Boho John Nieto signed lithograph. The piece showcases a vibrant depiction of a traditional weaver, ...

This exquisite vintage print captures the thrilling elegance of America's Cup yacht racing, a timeless tribute to maritime history. Featuring a fleet of majestic sailboats gliding ac...

Weathered set of four 19th century French framed prints of labeled prunus. The colored prints are matted and framed in distressed gilt frames behind plates of glass. Various apricots...

The reflective, coloured, rippled glass panel – designed to add a palette of colour to spaces – reflects light in spaces and adds movement and color whilst creating abstracted reflec...

A black-grey, late vintage Mid-Century Modern American abstract Brutalist wall sculpture made of hand crafted gilded metal, designed by Linda Casetti in good condition. The detailed large wall décor...

Seva by Courtney Kinnare 2023 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of transluce...

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...

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...

This is a lovely set of Italian hand colored engravings framed with a linen matting. The frames are a painted and carved gift wood. They depict scenic views of Rome. The image is 12”...

“Studio 1988”: an original limited edition print by John Baldessari, signed, 1980s. Offset lithograph and screen print in colors on Somerset paper. Matted, framed, and ready to hang,...

Rare large and extremely sculptural wall table with marble inlay and beveled mirror. If you are appreciative of rare and sculptural antiques then this large mirror / side table could be exactly what you are looking for. The quality and the patina of the large, fighting phoenix bird and dragon frame is second to none and for it to be in such good condition is truly amazing. It takes a special craftsman and artist to create such a piece, the type that you simply don't find anymore in this day and age. Because of the subject matter and the great quality, the first name that comes to mind would be that of master sculptor Gabriel Viardot. However, Viardot virtually made all of his dragon sculptures in the Chinoiserie style and this piece is clearly more European. In terms of the quality of the carvings, whomever created this unique piece of furniture certainly was no less artistic or skilled as Viardot, because this piece really is among the best you will ever see. The way in which this hand carved wooden phoenix is holding the shield-like beveled mirror in its claws and the way the dragon seems to try to fend off the enormous and fierce phoenix is both dramatic and impressive at the same time and it will never seize to amaze you or anyone visiting. Especially when you see the detailed carvings and the true size of this work of beauty in real life, you will be stunned. By the way, we learned that in imperial China, the dragon and the phoenix were respectively associated with the Emperor and the Empress...

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

Newly framed follies bergere costume illustration by Marcel DuBois. Costume N5, no. 1028 chorus girl in black, white and orange costume. Number 4/100. Iris...

Italy, 18th century. This magnificent 18th-century Italian planter is a captivating example of Rococo Baroque craftsmanship, featuring an elegant French blue painted background that...

This is a Republic China period framed reverse painting on glass, depicting a beauty of wearing traditional Chinese customs and clothing decorations. The paintings come with their or...

Wonderful vintage neon letter "U" from a 1980's Toys "R" Us marquee. Letter feature a semi-polished, raw aluminum structure, white neon bulb, external powe...

This is a set of 50 reprints of the now classic "American Indian Chiefs" Cigarette Cards, produced originally by Allen & Ginter in 1888. This set is a ...

English Victorian period floral prints from "The Museum of Flowers" by Mary Elizabeth Rosenberg, circa 1845, in custom giltwood frames under g...

This exquisite set of 12 vintage herbarium botanical specimens brings the beauty of nature into your home. Each piece is delicately pressed and preserved, framed under glass to showc...

Framed Beautiful Butterfly Wings Composition, circa 1930 Manufactured in France. Materials: Wood, glass Dimensions: D 1,5 cm x W 42,2 cm x H 42,3 cm The artwork is in its origin...

Alexander Calder Exhibition Poster for Rolly-Michaux Gallery 1976 This piece is an original vintage poster advertising an exhibition of Calder's "Gouaches and Important Lithographs"...

Auguste Renoir etching, Le Chapeau Epingle "Pinning the Hat", third version from the original 1894 etching. This is an etching of the artist Man...

Divine set of four framed engravings depicting neoclassical Greco-Roman sculptures from the Louvre Museum after Jean Duchesne Aine (French 1779-1855). The prints are mounted in weath...

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...

Original signed lithograph Seems Like Manhattan II by Gary Lichtenstein. Signed and numbered 7/30. Two additional Seems Like Manhattan lithographs...

Patrick Nagel print with purple neon accent from the 1980s.

Vintage folk art watercolor painting on paper - double bevel edged matte board - birch wood frame with glass - Canada (likely) - circa 1970's. Good vintage condition - artwork not v...

Octagonal tin, brass and mirrored vitrine wall shelf. 2 interior shelves

Exceptionally hand-crafted picture frame with station of the cross lithograph by Eugene Jouy 'Editeur'. This handcrafted antique frame is in a style that we have never seen before a...

A stunning Meiji Period (1868-1912) Japanese large framed embroidery/ tapestry featuring a pair of finely detailed birds - likely peacocks in a floral garden landscape. A truly magn...

This is a digitally remastered print of a Flamingo referenced from an Audubon. Birds of America hand coloured print, originally from the 1800's. Prints of this style were origina...

Antique Oil Painting With Four Saints, Germany ca. 1920s A great antique painting depicting the saints St. Elisabeth, St. Gregorius, St. Nikolaus and St. Barbara. Handpainted with e...

1960's Salvador Dalí's Cerberus Inferno 6, is part of Dalí’s larger series of illustrations for Dante Alighieri’s Divine Comedy. This series was commissioned to mark the 700th annive...

Elevate your decor with this Vintage 1980s Signed Abstract Lithograph. Featuring a striking abstract design and signed by the artist, this lithograph embodies the bold, vibrant style...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

A set of four circa 1825 Chinese Export polychrome reverse glass paintings comprised of figural court views and battle scenes in original 'Chinese Chippendale' parcel-gilt aubergine lacquer frames and reverse backboards. A remarkable and exceptionally rare set of good size and condition. Provenance: Legendary fine English antiques...

This hammered and etched glass art sculpture captures the essence of motherhood with delicate artistry. The jagged surface of the hammered glass creates a dynamic play of light and s...

English Victorian period floral prints from "The Museum of Flowers" by Mary Elizabeth Rosenberg, circa 1845, in custom giltwood frames under g...

"OKO 95 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 95 x 6 cm. Zieta is best known for his collection of sto...

German Black Forest style barometer with fine hand-carved oak branches, leaves, and acorns. Dimensions: height 30 cm / 11.81 in; width 24 cm / 9.44 in; depth 5 cm / 1.96 in. In good ...

Antique print entitled ‘the neophyte (first experience of the monastery)’ by Gustave Dore, 1832 -1883 A captivating, somewhat creepy and darkly humorous take on someone’s first day r...

Tafla O4.5 contemporary mirror by Zieta. (New model created in 2020) Delivered with certificate signed by the artist: Oskar Zieta for Zieta Studio. Polished stainless steel Measure...

"OKO 75 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 75 x 6 cm. Zieta is best known for his collection of stools “P...

#5- 3023a hand colored bird engraving. Original engraving matted in a Celidone green, glass and white wood frame. 6 available choice by ph...