Glass Wall Decorations

This stunning print of Hummingbirds references a beautiful print from the 1900s by Ernst Haeckel as per similar pieces; reference Sea anemones and Mosses from Ernst Haeckels Kunstfor...

Pair of Marino Marini lithographs, from the Marino Marini portfolio, printed by Carl Schunemann, Germany, circa 1968. They have been framed in clean lined black lacquer gallery frames.

Making artistic mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

This stunning antique bronze panel shadowbox is a true collector's piece, showcasing the exquisite artistry and craftsmanship of Asian artisans. The three panels feature intricate As...

Wall Decoration Amazon Headdress traditional headdress of an aboriginal tribe from the Amazon made up of strands of natural straw, and dehydrated ca...

Theo Tobiasse Figurative Color Lithograph Year: 2002 Medium: Lithograph, signed and numbered in pencil Limited Edition: #93/125 Framed dimensions: 31" Wide x 39 3/4" High x 2" Deep...

Large original gelatin silver print photograph of a sculptor w/ stone marble sculpture of mother and child. Set in a beautiful period silver gilt wood frame w/ mat and glass. Circa 1...

Popularized during the Qing dynasty, reverse glass painting requires an artist to essentially work backwards, starting with details and shading before adding color and form. Lending the finished work a subtle three-dimensional effect, this exacting technique doesn't allow for any corrections, and is only revealed to its full effect when the glass pane is turned around. This example dates to the late 19th century and depicts the Taoist immortals He Xiangu and Cao Guojiu. Said to have attained immortality through their studies of the natural world, the Eight Immortals each represent a different condition in life and impart blessings of prosperity and longevity. The charming scene is likely one of a set of...

Pair of Antique intaglios newly framed on camouflage burlap.

A really romantic three dimensional glass painting with 2 children at a wooden fence. 1950’s convex silhouette glass art wall decoration, wall light . Is this Art or is this Kitch? Y...

Freedom Wall Art, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. Wall art with Greenapple exclusive design p...

"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...

18th Century Engraving Sneed Park, the Seat of Joseph Jackson Esquire. Hand colored engraving, “Sneed Park, the seat of Joseph Jackson Esquire. Illustration from the second volume o...

Antique Original Charcoal and Chalk Study Depicting a Girl and her Dog An extremely charming portrait study which is sensitively and skillfully executed. Framed and glazed in its o...

Modern Black Forrest Carved Walnut 6 -Point Deer Shoulder Mount Switzerland, Circa 1960s Enhance your space with the timeless elegance of this Modern Black Forest Carved Walnut 6-Point Deer Shoulder Mount. Originating from Switzerland and dating back to the 1960s, this piece represents a fine example of the revered Swiss Black Forest carving...

This fantastic collection of 9 sketches were most likely composed in a figure study art class in France during the 20th century. Drawn with pencil on ...

The bar cabinet wall piece is the second piece of the collection Una (Articolo Indeterminativo) by Stefano Marolla. The name of the collection comes from the Italian grammar where the indeterminative article precedes a non-identified noun. The objects play on the ambiguity of the matter than can deceive the eye: a sturdy element like wood, hand-curved and levigated, looks like a light tapestry. The curves and the soft drapery of the wood are inspired by a long and attentive study on the usage of drapery in art’s history, going back from the ancient Greece to Bernini’s sculptures...

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...

Selection of three horse and rider lithographs by Marino Marini, from the Marino Marini portfolio, printed by Carl Schunemann, Germany, circa 1968. They have been framed in clean lin...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this...

Allegory of ecstasy with Cupid, an 19th century Italian tempera and watercolor painting, oval composition within a rectangular greenish frame. The painting depicts the dream, the ec...

One of a kind, 19th century leaded and stained glass panel. This incredibly well made glass window frame depicting a beautifully hand painted angel is another one of our recent great finds. The serenity and innocence that this child Jesus radiates reveils the quality of the workmanship of the artisan who created this work of religious art. This unique and highly decorative antique fragment...

Rare and stunning Art Deco mirror with a handforged Rose flower and leafs. This handcrafted antique mirror is another great example of the quality and decorative beauty that Europea...

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

Great quality and condition wall key or brush cabinet from 1930. This Arts & Crafts style wall cabinet can be used for all kinds of purposes and the stunning, beveled mirror is a real bonus. The handcrafted artwork in the form of carefully hand-hammered style elements on the copper outside is very aesthetically pleasing and the patina too makes this cabinet an absolute joy to own and look at. The door still opens and closes perfectly and the patinated interior could not be in better condition either. If you are a collector of rare, timeless, good quality, artistic and practical Arts & Crafts pieces then this wall cabinet with mirror...

Embossed pewter plated paper panel elegantly mounted and framed in a silver gilt wood frame. Label on verso "E. G. Cody Pewter Plate Series" One owner. Extremely clean.

A vintage framed poster of a Porsche 939 Cabriolet, 1987. This poster wall art piece has protective glass front and a black metal frame. Dated on back July 7, 1987 as shown in last t...

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

Making Artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

A great looking hand carved original wooden Folk Art deer head wall decoration. A great piece for a suitable ambiance in a trophy room or the office of ...

Set Of 2 Modular Decorative Mirror Mosaic Panels by Davide Medri Dimensions: D 10 x W 85 x H 85 cm (each panel). Materials: Mirror silver mosaic. Available in two different sizes: 8...

18th Century Playing Cards by David Weege, 1758 27 pieces of copper engraved playing cards, framed behind glass, made by David Weege 27 pi...

Amour by Courtney Kinnare 2024 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of transluc...

This unique piece of Mid Century wall art features a round mirror set within a sleek chrome metal frame, exuding a modern, minimalist appeal. Measuring 30.25”x30.5”. The mirror itsel...

Fine and rare pair of antique Dutch Verre Églomisé reverse oil paintings on glass panels - featuring moody landscapes with a castle and church, having ...

Alberto Biasi - Rilievo Ottico Cinetico. Double screen printing. Kinetic art Signed and numbered 44 / 100. Size with frame : 68cm x 68 cm. Size unfr...

Of a fabulous size, dated and signed charcoal on paper depiction of a Bengal Tiger. Dated 1831, housed in a simple period ebonised and gilt slip frame. The signature I cant deciphe...

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...

An early 20th century lithograph depicting Sir Galahad after George Frederic Watts (1817-1904) in period oak frame. sight: 13 ½ by 27 ½ inches frame: 19 ½ by 33 ½ inches

Exceptional painting by famous Mexican artist Amador Lugo Guadarrama (April 12, 1921 – June 26, 2002) was a Mexican painter, graphic artist, writer and c...

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 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...

Making Artistic Mosaic, design of unparalleled beauty, inventing 'tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divul...

A fantastic and rivetting work by American/ California artist Ed Moses titled "Ikuru Speak-No". This work is on wove and Japanese paper (The print was made with two attached sheets...

Framed 19th Century English Textile

Found in Italy, this wall-mounted cabinet dates from the 1960s. Cabinet has a walnut base with sliding clear glass doors and glass interior shelves. Unknown maker.

Wonderfully decorative mosaic wall art sculpture executed by Heidi Melano the world renowned artist responsible for multiple works completed for Fernand Leger, Chagall, Braque. Hand-crafted, beautifully proportioned, this rectangle mosaic is inlaid in a slim frame. This rare work of art would make a great accent piece would enhance any wall. A true iconic piece by this artist. Signed on the bottom right, back of panel also signed with Heidi Melano's initials. Measures: Depth 1.25 in. x Width 28.75 in. x Height 20 in. Would enhance any traditional, mid-century, contemporary, modern, country, beach house, ski resort setting. About The Artist: Heidi Melano, her maiden name Heidi Hoegger, she was born in Geneva on April 20, 1929. Granddaughter of the great Swiss painter Ferdinand Hodler, she was passionate about art from an early age: she created, painted and lets her imagination speak by expression through different techniques. Very quickly, she wanted to become a mosaic artist. At the age of 23, she won a mosaic competition with her work "La Volière". On this occasion, she meets Lino Melano...

A gold, large vintage Mid-Century Modern Italian full size oval wall mirror made of hand crafted gilded metal with its original mirrored glass, designed by Pier Luigi Colli in good condition. The metal frame is decorated with alluring details. Wear consistent with age and use, circa 1940 - 1950, Italy. Pier Luigi Colli (1895-1968) studied at the Paris L'École Des Beaux Arts Decoratifs. He returned to Turin, Italy to lead the Colli family furniture business. Today, Colli is one of the most popular furniture factories in the antique and vintage market...

Original signed lithograph Seems Like Manhattan by Gary Lichtenstein. Signed and numbered 7/25. Two additional Seems Like Manhattan lithographs ...

'HALO' collection by Buzao, wall hanger Laminated dichroic glass, gradient colors Size: 100 x 12 x H 8 cm Studio Buzao from Guangzhou (China) is exploring...

Rare pair of diamond mirrors by Verner Panton made by Beylerian of New York. These models are in the Beylerian catalog, and the model number 570039. Beylerian sales catalogue, n...

"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...

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

Robert Indiana LOVE 1971 serigraph poster. Silk-screen poster designed and created by Robert Indiana and published by Posters Originals.
 Newly framed in silver wooden frame.
 Frame ...

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. ...

Selection of Alexander Calder color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that lived in France from 1951-1983. These are most likely from the limited edition folio “Derriere le Miroir”, published by the legendary Galerie Maeght. Please see our other 1stdibs listings for more Alexander Calder and Joan Miro lithographs from...

A beautifully made Roman or Greek medieval framed wall art scene, circa mid-20th century, Europe. Scene depicts a muscular man and a centaur (half man half horse...

Alfredo Barbini great plate Murano art glass black corroded copper green, 1980.