Spanish Wall Decorations

A work consisting of three panels representing a plum blossom, to achieve this delicate effect the sumi-e technique has been used. The work has been entirely hand painted on 100% nat...

Surrealist nude painting by Alex Alemany, Spanish, circa 1970s. Alemany's works are often described as "magical realism." This painting measures 32" H x 25.5" W and is unframed.

This unique photo litho graphic poster was made for the opening of the Picasso Museum in Barcelona in 1966. This poster is one of the 5000 made. The poster was made by La Poligrafa...

Released in 1964 & based on the 1913 stage play by George Bernard Shaw, "My Fair Lady" was a great critical and commercial success. Starring Audrey Hepburn as Eliza Doolitte and Rex ...

JOAN-PERE VILADECANS ( Spain , born 1948) mixed media with embossing on paper. Numbered 4/74 and signed by artist. Framed, no glass on frame.

Spanish Orientalist school, 20th century. "Audience in the Alhambra". Oil on canvas. Measurements: 31,5 x 23 cm; 47 x 39 x 39 x cm (frame). Orientalism was born in the 19th centu...

“There goes that”, Los Caprichos. Framed engraving. Original by GOYA Y LUCIENTES, Francisco. It has damage. The original was an etching belonging to the series Los Caprichos by Fran...

Mid Century Modern Linocut By unknown artist In original condition with minor wear consistent of age and use.

Tapisserie murale artistique tridimensionnelle en très bon état. Art abstrait avec les formes et les couleurs bien caractéristiques de Joan Miro. Pièce unique Espagne, ca. 1970

Abstract and textured Catalan wall tapestry, dated 1971. Unique piece part of the "New Tapestry" movement, the artist is both the creator and the executor of the work.

Mid Century Modern Colorful Tapestry, circa 1970 By unknown Artist In original condition, with minor wear consistent of age and use, preserv...

Mid-Century Modern Medieval Inspired Bas Relief Wall Decoration in Polychromed Carved Wood. Spain, 1950s. Beautifully hand-carved bas relief depicting genre scene. Two standing men f...

Exquisite oil miniature depicting an elegantly dressed Spanish lady, created by the renowned 19th-century painter José de Roxas, known for his exquisite miniature portraits. The fema...

Based on Sol Yurick's 1965 novel, Walter Hill's 1979 film The Warriors is a celebrated cult classic from 1979. Depicting gang warfare, violence and vandalism, the distributors actual...

Large oil on canvas representing the Holy Trinity. It is painted here as a Throne of Grace, vertically, with Jesus dead on the Cross, or supported by God the Father, with the Holy Sp...

"Wedding of Tethys and Peleus". Oil on canvas. School of Madrid, 17th century. Corte, Juan de la (Antwerp, circa 1585 - Madrid, 1662) circle. This work describes the weddings of the Nereid Thetis and the prince Peleo, parents of Achilles. It was celebrated on Mount Pelion, and all the deities came, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple in which she said "for the most beautiful", that caused the dispute between Athena, Aphrodite and Hera that led to the Trial of Paris, to finally bring about the Trojan War. The banquet is depicted with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is situated at the far end of the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving the wine, accompanied by rich metal vessels worked with a detailed and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground to the right and, following an agile rhythm in zigzag, typically baroque, Aphrodite with Eros, Hermes and the grooms, to the left, and to the right Poseidon. Formally it is a work perfectly framed within the 17th century school of Madrid, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and color are especially relevant, revealing the exalted and luminous tone typical of this school's maturity. In particular, we can relate this painting to the circle of Juan de la Corte, painter of Flemish origin. We know nothing of his first formation today, for Palomino's assertion of his birth in Spain was documented, quoting in his testament that he was born in Antwerp. Also conserved documents in which the painter declares his apprenticeship in Flanders, where "it exerted his office by many years". For all this he has been associated with Flemish artists of the time who, due to personal knowledge or the study of his works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at the court encouraged him to ask for the place of royal painter who left vacant Bartolomé González...

An Iconic Original Bullfighting Large Poster (September Month 1971) that has been beautifully framed for the The Plaza de Toros de Albacete a bullring in the town of the Albacete, in...

Rare macramé tapestry by the artist Sanchez Molina. Unique piece, signed Spain, ca.1960

Virtues, relief. Molded and polychrome alabaster. 20th century, Inspired by models by SANZIO, Rafael or Raffaello (1483-1520). Relief with figurative decoration made of alabaster molded with polychrome inspired by the fresco of “The Cardinal and Theological Virtues” on the south wall of the Signature Room in the so-called “Raphael rooms” because they were painted by Rafael Sanzio...

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of carved and polychrome wood reliefs that each show a seated human figure wri...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

1937 Henri Matisse — Back Cover Lithograph for Verve Vol. I (Cut-Out Design), Framed & Free Worldwide Shipping A swirl of silken ribbons glides above abstract dove-forms on a bold f...

Graphic Lithograph Poster - Plaza del Sol, Banco Catalunya (Circa 1950) in Oak Frame Description: This exclusive graphic lithograph poster is a unique vintage piece dating back to ...

This is a MONUMENTAL art installation comprised of 12 unique framed painted fiberglass panels in a continuous color formation by Spanish artist/painter, Francisco Franco. Completely ...

New handcrafted red lacquered steel wall shelf Zig Zag designed by Barcelona-based designer Max Enrich. Collectible design. It is a cantilevered shelf that can be used to empty your ...

1850s Pair of Framed Andalusian Wood Paintings of a Bullfighter and a Woman

18th century glazed ceramic fragments arranged on an iron framed panel.

Original Lithograph Poster Picasso 1960 Sala Gaspar Barcelona No COA Frame 20 h x 16 w Art 13 h x 9.38 Preowned original vintage condition Refer to images listed.

Manuel Espinosa y Carbia (Spanish, b. 1840) A Fine Watercolor on cardboard depicting a seated Maja Lady wearing traditional Spanish clothing, a shawl over her lap and holding a fan, ...

A contemporary embossed lithograph on paper titled "Pintora Mexicana" by Spanish Modernist Alvar Sunol. Hand signed in pencil on the bottom right with an annotation of 107/200. Circa...

This exquisite Spanish gilded iron sunburst is a stunning decorative piece that exemplifies the artistry and elegance of traditional Spanish design. The sunburst features meticulousl...

1961 Moisès Villèlia Linocut — “Aumun”, No. 89/100, Illustrating a Poem by Alain Arias-Misson, Framed & Free Worldwide Shipping A constellation of biomorphic nodes and tendrils unfo...

ANNUNCIATION TRIPTYCH Spanish School 17th Century Oil on canvas glued to wood, Spanish school 17th century Dim.: (total) 97 x 153 cm very good conservation condition

Books And Topographies N55 Belongs To The New Collection By Javier Velarde. This Collection Explores The Relationship Between Domestic And Natural Spaces, Symbolizing A Damaged Domes...

This sophisticated and beautiful decorative panel has been entirely hand-painted on 100% natural cotton paper, which has been metallised in a champagne colour, using overlapping laye...

Francisco Bores – "La Ferme" (The Farm) A remarkable and highly collectible painting by the celebrated Spanish modernist Francisco Bores (1898-1972). "La Ferme" is a prime example of...

A Fabulous set of Hand Coloured Etching by Joaquim Terruella Matilla (1891-1957) of Bullfighting Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Sa...

This is a first state, first printing lithograph by Joan Miro´ (Spanish, 1893-1983), on Guarro wove paper, signed on the stone. Executed in 1975 at the Atelier of Poligrapha in Barce...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

American Artist George Henry Hall was born on September 21, 1825 in Boston, Massachusetts. Hall opened a studio in New York City in 1852. The Smithsonian deems him to be "one of the ...

Hernández Pijoan (1931-2005) untitled Gouache and pencil on paper. Signed an dated 1971.                         

19th century Spanish "Puente del Arzobispo" Madrid Hand Painted Earthenware dish.

Original vintage travel poster for Santa Fe de Montseny in Spain - Estacion Climatologica de Primer Orden a 1700 metros de altitud y a 70 kilometros de Barcelona / First Class Climat...

"Cocaina en Flor" by Josep Masana — Surrealist Photomontage, 1980s Print After 1910 Original Descripción completa An evocative and rare print of Cocaina en Flor, the iconic surreali...

Wall-mounted shelve by Dada - Est. Manufactured in Barcelona, 2017. Ashwood Measures: 32 cm D x 200 cm W x 200 cm H Production delay: 7-9 weeks There is the possibility of maki...

He began painting and writing in 1947 in Madrid while suffering from tuberculosis, having already been confined to his bed for five years. In his beginnings he created numerous drawings and paintings with a dreamlike surrealist character that most often represented imaginary landscapes, employing a flat smooth treatment that offers a rich palette of colors. He claimed Hans Arp and Yves Tanguy as his artistic influences. He stayed in Paris in 1952 and in 1954–1955 during which he met Benjamin Péret and associated with the Surrealists, although he soon parted with the group, joining instead the company of his friend the painter Simon Hantaï. Using the technique of scraping, he adopted a gestural style and created an abstract type of painting, still very colorful with an organic, aleatory design. The first appearances in his work of forms that will soon become archetypes of the female body or the human figure occur in the mid-1950s. Starting in 1956 Saura tackled the register of what will prove to be his greatest works: women, nudes, self-portraits, shrouds and crucifixions, which he painted on both canvas and paper. In 1957 in Madrid he founded the El Paso Group and served as its director until it broke up in 1960. During this period Saura met Michel Tapié. During the 1950s he had his first solo exhibition at the Rodolphe Stadler Gallery in Paris, where he regularly exhibited throughout his life. Stadler introduced him to Otto van de Loo in Munich and Pierre Matisse in New York City, both of whom exhibited his work and represented him, and eventually his paintings were collected by major museums. Limiting his palette to blacks, grays and browns, Saura asserted a personal style that was independent of the movements and trends of his generation. His work followed in the tradition of Velasquez and Goya. Starting in 1959 he began creating a prolific body of works in print, illustrating numerous books including Cervantes's Don Quijote, Orwell's Nineteen Eighty-Four, Nöstlinger's adaptation of Pinocchio, Kafka’s Tagebücher, Quevedo’s Three Visions, and many others. In 1960 Saura began creating sculptures made of welded metal elements which represented the human figure, characters and crucifixions. In 1967 he settled permanently in Paris, and joined the opposition to Francoist Spain. In France he participated in numerous debates and controversies in the fields of politics, aesthetics and artistic creation. He also broadened his thematic and pictorial register. Along with his Femmefauteuil (literally "Womanarmchair"), he also worked on the series "Imaginary Portraits",and Goya’s Dog...

Antique Spanish Letterpress Cabinet – 700 Wooden Pieces, Circa 1950, A Unique Printing Artifact Immerse yourself in the rich history of traditional printing with this extraordinary ...

'Pueblo' Decorative Tile Spain 1960s. Beautiful and whimsical decorative tile with a nice village or 'Pueblo' theme. Made in Spain in the 1960s. Great as a piece of wall decoration ...

Musicians, relief. Molded alabaster. 20th century, after Renaissance models. Relief with frame made of alabaster molded with polychrome inspired by Renaissance works of the Spanish s...

Very interesting post impressionist painting of a Mediterranean character, ideal for art collectors of Mediterranean landscapes old painting of very large dimensions, lots of color, ...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

European school oil on canvas of 20th century Measures: 72 x 62 cm and 39 x 30 cm Good condition.

The price is for the lot of 3 molds Ideal copper molds to hang as an ornament in a rustic kitchen. Vintage copper molds with tin-plated interior  copper molds kitchen; Wall decoration; brass; rustic. fall; pastry molds vintage old antiques fish and round fruits copper molds kitchen copper wall decoration. Collection of antique copper molds; Italian and French; adorning the walls of kitchens in Tuscany and Provence.; Copper fish mold...

Painting by Ballesteros, 1974. Oil on canvas. Handsigned and dated. In original condition, with some visible signs of previous use and age, preserving a beautiful patina....

Decorative Resin Picture of Romantic Women of the Arts, with Golden Frame

Holy wall font. Bronze. Spain, 17th Century. Small font for holy water designed to be placed on a wall, which has a container decorated with moldings and architectural elements and...

UNTITLED, Wall painting by Spanish artist Federico Miró, from the series THE TRUTH IS ANOTHER, Acrylic on canvas. Federico is a young artist who, in his meticulous work, reflect...

1930s handmade tapestry representing an town scene. Part of a set of Tapestries that represent Egyptian life in the 1930s.   

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...