Glass Wall Decorations

"Big Hug" ((H)) - Limited edition blue glass pill sculpture by Edie Nadelhaft. Edition of 9. Signed and numbered on the back by the artist. The piece is equipped with a D-ring on the back for easy hanging. "Big Hug" is part of Edie Nadelhaft's "Better Living Thru Chemistry: Luv is the Drug...

Monochromatic, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technical art of mosaic making. ...

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...

Wonderful polychromed lithograph under glass with reverse glass hand painted gold gilt rectangular double lined border, along with a hand painted black matte; unique; I have not seen...

Late 19th century botanical chromolithograph print in gilt frame, Odontoglossum Crispum. From an illustration by B. Herincq. Document taped en verso: "Favourite Flowers of Garden And...

Modernist wall mounted print art work. Earth Tone pastels, by C. Dunlap for Harris Strong, circa 1970. Measures: 17.5" x 15.5" 1.25" deep Original mixed media art signed by the artis...

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...

This is an antique etching by renowned Danish artist Emil Krause (1871-1945). The motive of this night-time image is an alluring moon shining behind the trees into silent waters. The...

Crafted in France in the 1800s, this high quality gilt bronze wall clock has elements in the style of Louis XVI. The white clock face with blue numbers re...

Umetaro Azechi "Three Men on Mountain" Abstract Woodcut Monoprint A colorful framed abstract woodcut monoprint by well-known Japanese printmaker Umetaro Azechi (1902-1999). He was b...

"Devotion" serigraph numbered 229/300. Includes blind stamps on lower left of the art piece. Signed on the lower right with pencil. Gold frame included. Overall Dimensions: 45"H x ...

Striking Sunburst Design in overlapping layers of contrasting colored woods. A large dimensional sunburst form in three overlapping levels with sharp edged rays with a small center ...

A beautiful depiction by Pablo Picasso of his final muse Jacqueline Roque with matted frame. Hand numbered 183/375 as part of the limited series of lith...

This is a vintage framed decorative silkwork panel. A Japanese, embroidered silk cotton needlepoint scene, dating to the Art Deco period, circa 1930. A delightful display of traditio...

Color print of two Canada Jays in a gray painted rectangular wooden frame under clear plexiglass

Kiko Lopez is one of the few artisans working today in the traditional craft of églomisé. With this beautiful well of glass, which changes dramatically from whichever perspective one...

Tafla O5 contemporary mirror by Zieta Gradient collection, deep space blue finish Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 60 x 4...

'Market Square in Wijk bij Duurstede' - Vintage lithographic Architectural print on paper with white hand painted highlights - titled (in Dutch) in the lower margin - signed in the p...

Pair of Sarreid carved wood shelves. Can be used with glass top as seen in pictures or without. Made in Spain. Measures: Glass top is 108 (length)...

Inject a vibrant dose of vintage cool into your space with this original signed and numbered lithograph by artist Melo Porter. The artwork features a striking, stylized portrait in a...

Original Watercolor Figurative Female Nude in gilt gold wood frame c.1980’s titled Asleep, by Texas artist Stephanie Woolley. Original Gallery tag and COA attached to back, purchased...

Exceptional vintage Italian carved and parcel gilt sunburst panel. Circa 1940. Sure to make a statement!

Selection of Modern Art, circa 1950s-1970s. From left to right, they are: 1) The abstract nude female drawing, probably American, circa 1950s....

Opulent set of four framed and matted Etruscan vase engravings after Giovanni Passeri (Italian) by Sir William Hamilton illustrated in the Picturea Etruscor in Vaculis. The set inclu...

Joanne Heath-Menger- 'Afternoon Tea' - Vintage watercolor painting over graphite on paper - signed lower right - signed and titled verso - gallery/catalog number verso W/C 121-4 - fi...

“Ties” is a hand pulled, hand colored, screen print lithograph, contemporary artwork realized by Jim Dine in 1976. This piece is number 30 in the edition of 150. Printed on wove, ha...

This a print of the iconic The Blue Boy by Thomas Gainsborough from around 1770. It is believed to be a portrait of Jonathan Buttali, the son of wealthy ironmonger. This print come...

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

C. 20th Century Four Hand Painted Limoges plates Depicting Pheasants Made By Raphael Weill & Co.

"OKO 36" contemporary mirror by Zieta Emerald model Gradient collection Stainless steel Measures: 36 x 6 cm. Three colors available: - Emerald green - Sapphire blue - Gradient emerald/sapphire Zieta is best known for his collection of stools “Plopp” made through the technologist Fidu. With the same principle Zieta Prozessdesign conceived mirror collections made of stainless steel called “Tafla”, “Rondo” and “Rondel”. Two laser-cut metal sheets are first welded together before air is injected between them until they separate from each other forming a three-dimensional object. OKO from the Gradient Collection is an attractive mirror in colour. The lacquered steel – thanks to the FiDU forming method and the unique way of covering it with colour – gains an aspect of a precious gem. Additionally, just like the OKO Mirror Inox, its round surface delicately reflects light and interacts with other objects in an interior. It is said that the eyes are the mirror of the soul. Therefore, OKO could be the soul of the space in which it is located. The world seen by OKO is a world of expressive deformations from another side of a sphere: uneasy, but also romantic in a way. OKO Mirror Gradient...

"John Stobart (British b. 1929) paintings and limited edition prints are collected around the world and seen by visitors of the Peabody Museum in Massachusetts and the Portland Museu...

Joichi Hoshi "Red Star" Abstract Woodcut This is a colorful framed woodcut print by well-known Japanese printmaker Joichi Hoshi (1913-1979). Hoshi was best known for his depictions ...

19th Century Italian Watercolor of Fishing Boats in the Bay of Naples. Charming antique watercolor depicting the Bay of Naples with fishermen and their boats at their daily chores. ...

"Lady-Fan" scuplture mirror Introducing Sabrina's breathtaking wall mirror, a dazzling new creation unlike any other. Like a free dance movement, Sabrina Landini pays homage to glas...

"I Love You" - Limited edition blue glass pill sculpture by Edie Nadelhaft. Edition of 9. Signed and numbered on the back by the artist. The piece is equipped with a D-ring on t...

An early 19th century French Louis XVI style trumeau mirror with a large painting depicting Diana, the goddess of the hunt. Oil on canvas with vivid color, heavy craquelure, with som...

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...

Contemporary artwork by Sandro. Frame included. In original condition, with minor wear consistent with age and use, preserving a beautiful patina. Materials: Paper Wood Gl...

A gorgeous mosaic wall hanging on board by Hilke thor Straten, circa 1970s. The bright and colorful piece is in very good vintage condition and mea...

A gorgeous 1940s armoire cabinet reminiscent of designs by Italian architect and furniture designer Paolo Buffa. The monumental silhouette is composed of waxed wood in a rich cherry ...

Two framed hand colored stipple engravings of parrots by Jacques Barraband published 1801-05. In beautifully matted and gilded frames. From Judy Cormier. One print with some foxing.

ABOUT An original Eastman Kodak No. 2 folding camera. The body of camera is all leather with that folds smoothly closed to 1.5 inches. This camera has retained its original finish...

American three masted clipper ship diorama under glass in shadow box gilt frame. Mid-19th century.

In wood frame good original condition no damages.

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...

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...

Jacques Deperthes ink on paper signed and dated 1968

James Bama (American Artist, 1926-2022) "The Drift on Skull Creek Pass", offset print lithograph from the original photorealistic painting, pencil signed lower right and numbered 54/...

"V Element" is a contemporary wall sculpture inspired by the timeless beauty of Venice, where architecture emerges from the water like a dream anchored in history. Four iconic Venet...

An antique Japanese woodblock print from the 19th century depicting a ceremonial tassel. Created in Japan during the 19th century, this woodblock print attracts our attention with it...

A fabulous vintage Coastal original topographical map. A view of the Florida Keys and surrounding waters. Part of a trio of three maps. Al three are a...

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

Capture the classic elegance of natural history illustration with this superb vintage hand-colored lithograph. This piece features a scientifically precise and beautifully rendered Y...

This is a digitally remastered World Map Conjuring up the golden age of exploration, from an original 1642 double hemisphere map of the world. It...

An exquisite set of three English circa 1840 shellwork pictures in original giltwood frames composed of various Caribbean or West Indian seashells depicting fanciful designs of a fol...

Antique wall mounted curio cabinet and vitrine in dark wood with hand-carved crown moldings and pediments. Cabinet has mirrored back and two adjustab...

Set of 4 Italian art engraving prints Italy, mid century These classic sepia toned prints depict the city of Carpi in the 60s and 70s Handmade solid ...

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...

Mid-century German made round brass coloured frames with domed glass. Beautifully presented large exotic butterflies mounted on a beige backdrop. Each frame is held by a gold colour...

Wall mirrors - Saturn, made of vintage glass bowls: Floating glass bowls and mirrors - invisible construction The vintage glass bowl is easily and securely attached to the wall. A ho...