European Wall Decorations

A Very Large and Quite Impressive 19th C. Italian Oil on Canvas Painting, 'Departure of the Guests', F. Beda. The oil painting Departure of the Guests, signed by Francesco Beda, capt...

Rare large Majolica leaves plate Wasmuel, Circa 1890. Measure: 10 inches diameter.

Unique ceramic wall decor by the Danish ceramist Lizzie Schnakenburg Thyssen. Made in 1970. The wall sconce consists of a large ceramic tile in center with a mother fish with a small fish in her belly. They are surrounded by several smaller ceramic tiles in brown, some of them also depicting fishes. The tiles are mounted on a chipboard and it can be hung on the wall. The motif is a tribute to Motherhood and Fertility. Lizzie Thyssen has made several wall decors showing mother animal with their babies in their bellys. Marked at side: Lizzie Thyssen Juli - 70 Marked on fish...

Old English lithograph named; "The Woodland Gate". Please note extensive foxing on the perimeter.

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...

Beautiful handmade woven tapestry featuring a design inspired by Edvard Munch’s Young Woman on the Beach. This unique textile artwork captures the essence of Munch’s melancholic yet ...

Ancient Italian painting from the 18th century. Oil on canvas famework depicting a seascape with characters and architectures of good pictorial quality. Nice size painting and pleasa...

Striking 19th century engraving of a toucan hand colored by artist and naturalist Jacques Barraband (1767-1809 ) first published in Paris 1801. Presented under glass in a lacquered w...

A lovely vintage painting of a ballet dancer, made by the French artist Pierre Grisot. Oil painting on hardboard, framed in a classic frame. Dimensions frame: 47 x 42 cm Dimensions painting: 25 x 20 cm Free shipping Pierre Gristot. France, 1911-1995 Grisot was born in Paris, he was a French post-Impressionist artist who was a member of the Ecole des Beaux Arts in Paris. Grisot painted in a light-hearted style that was all his own. Whether he was painting fashionable ladies of the day, nudes or flowers, his work was always full of colour and life and was very different from the styles of his contemporary painters. His paintings now serve as vintage reminders of the style of the mid 20th Century. One of the most enduring features of Grisot's work was his brilliant use of color and his evocative renditions of the female visage. Grisot was born in 1911 in Paris. Grisot worked as an engineer but gave up this career and moved to Paris, where he studied painting for a year at the Ecole des Arts Décoratifs. After this he studied at the prestigious Ecole des Beaux Arts in Paris, where he obtained his diploma as a drawing teacher. Grisot taught drawing and painting for many years, but he also gave up this work to be able to paint freely. The first exhibition of Grisot's paintings took place in Paris in 1942. In 1951 he received a prize for engraving and in 1952 the French government awarded him a scholarship for a stay of several months in Tunisia. At that time the museum of Besançon acquired two of his works. Grisot took part in many exhibitions of paintings in Paris, especially in the Salons des Independants and with the group of "The Paris School", where he exhibited together with artists such as Vlaminck, Raoul Dufy and Villon. He produced an engaging oeuvre that depicts a colorful and light-hearted world of young dancing girls, nude models, coquettes and ladies of leisure...

A quality French oil on canvas painting of a pastoral scene. The painting depicts a church on a lake with vibrant and realistic colors, surrounded by a complimentary carved and gilt ...

Unusual French Majolica asparagus plate with 3 spaces unsigned, circa 1890.

An acrylic painting on wood by Italian artist Alessandro Bonato, 1960s. This richly textured painting features hues of off-white, taupe, and soft aqua in an abstract geometric design...

Dimensions: Frame: height 77 cm / width 107 cm / depth 6 cm Image: height 66 cm / width 95.5 cm.

Although Western films were shown during the Soviet era in the Communist Bloc, American publicity materials were banned, allowing the state-commissioned artists to operate with total...

18th C. Pair Hand Carved Wood Statues Wall mount Sculpture Regal Big Cats Lions .Exceptionally detailed high quality Large pair of Wall Art lions , outst...

Dutch School (18th century) Still Life with Lobster and Fruit oil on canvas 68 x 98 1/2 cm (26 3/4 x 38 9/16 in). framed 86 1/2 x 117 x 6 cm. (34 x 46 x 2 2/5 in.)

"Tafla C4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel Measures: 100 x 50 x 6cm Zieta is best known fo...

Add a splash of vibrant color to your space with this charming Marc Chagall poster, exquisitely printed by Mourlot in 1987. Known for his dreamlike ...

Artist ceramic wall plate with horse motif by Schäffenacker / Ulm. Handmade made in Germany.

Great images of a zebra and a Mongolian ass Unframed. Lithographs after Cpt. Brown with original hand color. Published, 1847. The measurement is for 1 print Free shipping

An antique 19th-century Western European hand-carved lava rock bas-relief plaque. The piece represents Venus on a swan-drawn chariot. Unsigned. Black velvet mat, wooden frame. Collec...

A fine contemporary British oil painting on canvas of white roses in a mustard pot displaying a masterful use of color, space, and light, mounted to an attractive gray-washed and sil...

This is a beautiful unique ceramic plate decorated with multiple beadings and it is a good example of the artists skill to use colours and fine iridescent glaze dots and details on t...

Beautiful French tapestry from the second half of the 20th century featuring a design by Jean Laurent titled "Le Cavalier" from the 1980s. Depicting a horseman in the woods, adorned ...

Watercolor signed in the lower left corner. The piece measures 19.25" x 23.25" including the frame and features a clipper ship at full sail. Provenance: Bradbury Art and Antiques,...

An Italian Rococo period framed still-life oil on canvas painting from the late 18th century, depicting a colorful bouquet. Created in Italy during the third quarter of the 18th cent...

Antique 19th century Square French Aubusson Hunting Tapestry depicting an excellent hunting scene on the banks of a river complete with men o...

The Rivet Shelf explores basic storing facets within one shape while functioning as a storage and display platform. The Rivet design is a symbiosis b...

Majolica roses plate wasmuel, circa 1890. 8 inches diameter.

French Majolica daisy plate Orchies unsigned, circa 1890.

One of a kind vintage Bessarabian Kilim. Measures: 5.7 x 9.4 ft. A handwoven Eastern European Rug from Moldova. These traditional Moldovan flat-weaves are inspired from vintage Aubus...

19th century, Italian Painting Architectural Capriccio with the Pyramid of Caio Cestio, Roman painter, after Giovanni Paolo Panini, unsigned. Dimensions: cm H 48 x W 63.5, frame H 6...

Portrait of a sophisticated English noble woman. Un signed. Presented in a fine dimensional shaped giltwood frame. Light cream Color dress with lace against a dark Back Ground make ...

Decorate a living room or an office with this exquisite pair of paintings. Created in France circa 1960, each artwork is set in a painted frame, and depicts a well known street view of Paris; one composition depicts "Les Quais et Le Louvre" and the other, "La Porte Saint Martin." Both paintings show a realistic rendering of space, and have an impressionistic style with a thick, textured application of paint. The result is one that shows the hand of the artist, and expresses an off-the-moment atmosphere of the place. Both paintings are in excellent condition and are signed in the lower left by the artist, Antoine Blanchard. Authenticity papers will be delivered to the buyer for further authentication. The present works are currently listed on the Rehs Galleries, Inc., Antoine Blanchard Virtual Checklist, no. LVQLW1318.0010 and no. PSMBSM1318.0010 . A letter of authenticity from Rehs Galleries accompanies the lots, including the original receipts from Landsberger gallery and Lewis Art Gallery. Antoine Blanchard (1910-1988), is the pseudonym under which the French painter Marcel Masson...

French Majolica asparagus plate Fives Lille, circa 1890. Decorated with an artichoke and a mask with leaves.

French Majolica birds plate Onnaing, circa 1890.

Decorate a study wall or office with this elegant pair of colorful antique paintings! Hand painted on stretched canvas in France circa 1940, each large artwork depicts a popular Parisian landmark in the impressionist style, "la Cathedrale Notre Dame" and "Le Marche aux Fleurs et la Conciergerie". Both street paintings are in excellent condition with soft pastels colors, and are signed in the lower right corner by American artist, Caroline Burnett. Caroline Barnett (1877-1950) was an American-born artist who studied in Paris towards the earlier part of her career; she was known for her Impressionist street scenes of Paris. Her painting style reflected the contemporary movement that was occurring in France during her time there. Caroline Burnett paintings also display hints of abstract influence, especially her figural paintings. She was a member of the Societe de Beaux-Arts in Paris, where she exhibited her works in 1898. Using both light and shadow with skill and precision, she painted cityscapes showing each season in Paris. Though her artwork's value is mainly aesthetic, Caroline Burnett oil...

"Täppan," created by Märta Måås-Fjetterström, is a beautifully handwoven flatweave tapestry from Sweden. Made with expert craftsmanship in wool, it measures roughly 24 x 24 cm and be...

These bookends, crafted from rosewood and metal and dating from around the 1960s, exemplify the elegant and functional design characteristic of mid-century modern aesthetics. The com...

Pietro Gabrini (Italian, 1856-1926) a very fine and large oil on canvas "Three Singing Italian Beauties on The Road" depicting three cheerful Village young maidens walking through a ...

Wooden Micro Carving Plaque by Johann Rint ca. 1880 A small wall plaque with detailed relief carvings worked out of linden wood by Johann Rint ca. 1880....

Charming English oil on canvas depicting three Spaniels and a flying duck overhead. Signed P. Hargrove. Original gilt frame.

Italian school; second third of the 17th century. "The Healing of Tobias". Oil on canvas. Relined. very good condition Dimensions: 117.5 x 107 cm; 130 x 118 cm (frame). This canvas ...

- Czechoslovakia, 1951 - Museum of decorative Arts in Czech republic - suitable for framing - photographed by Illek and Paul jr.

Oil painting on canvas in its original frame representing a Parisian quarter with a church on the background. Painted by the Italian artist Professor Piero Solavaggione (Carmagnola (...

Antique Marquetry Inlaid Scenic Tarsia Panel of Raffigurante "Il Carro Dell'Aurora"

"Tafla C4.5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: AURUM (2021) Material: Polished stainless steel Finish: Rose gold Siz...

Beautiful large vintage school map, school poster about the tulip, paper on linen, originally from 1958 by Jung Koch Quentell, reissued by Hagemann in 1973, Germany. Educational pos...

A Wonderful Colors 19th Century Paisley Shawl

Swedish modern tapestry. The pattern is called "Nattviol" (Butterfly Orchid) and is a part of the series "Juniblommor" (Flowers in June), composed 19...

This is a wonderful Limoges porcelain plaque painted by the Limoges sought after artist Dubois. It is beautifully painted. It depicts a group ...

The painting is very fine work with the subject of a beautiful Woman as the vestal virgin. The face is exquisite and the Costume draping is well done. The frame is in great conditio...

A beautiful set of framed pictures portraits of people of the victorian era on porcelain plaques. Frames made of wood, ebonized. With light sign...

Mid-Century Porcelain Fish Wall Plate from Porsgrund, Norway, 1960s, in Very Good conditions. Designed 1960 to 1969 This piece has an attribution mark. Additional information: Mater...

This beautiful naturalistic painting by Niels Christiansen (1873-1960) with motive of grazing horses in the wetlands near the sea emits an atmosphere...

With its Cascade of hand-drawn, intertwining snakes, Giove invokes one of the oldest mythological symbols. Since Schumacher was founded in 1889, our family-owned company has been sy...

Minimalist black metal bookshelves. By unknown manufacturer, Netherlands, circa 1960. In original condition, with minor wear consistent wit...

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...

Gorgeous Pair of Acanthus Leaf Wall Shelves Hand-Carved and Hand-Painted in a Gustavian shade of gray blue. This set could certainly stand alone as a pair on a wall or functional to ...

An eye catching classic Hermes silk scarf shown in an elegant custom gilt wood frame. Makes a graphic luxurious piece of art. The scarf is...