Hand-Crafted Wall Decorations

Rare and remarkable sculpture of a famous Dutch figure of the House of Orange-Nassau. For the collectors of famous, Dutch historical figures, we are offering this extremely rare and highly decorative wall plaque depicting William I. or Prince of Orange (April 1533 - July 1584). His nickname 'William the Silent...

It is not easy to find this kind of hand drawed and hand-made French wallpaper in good conditions. The shining turquoise and the scenes of the games of the characters and jugglers i...

Unique and artistic crucifix from the European Midcentury Modern era. Over the centuries the life and teachings of Christ have inspired many an artist to create His image in just as many ways as there were artist. In more recent decades the way in which Christ on the cross has been portrayed has changed significantly from how He was portrayed in previous centuries. Just like Christ was portrayed very differently in the early 20th century as opposed to how He was seen and portrayed in, for example, the Baroque era. And this way will keep changing as evolve. Just like with the other Styles, this modernist version of Christ either speaks to you or it does not and the way in which different people will see and experience this Christ will be very different too. That ofcourse also is the job of every artist, to make you think about an artwork and make you feel something at the same time. Not only is this unique modernist sculpture different in design from most Christ sculptures you will have ever seen, it also is all hand-crafted in a very rare material. This ceramic work of religious art also comes with a mild glazing and the unique elongated design makes it even more modern and 'experimental'. Thanks to the perfect metal hook on the back, safely mounting this piece is much easier than one would expect. If you already have a place and space in mind for Him then maybe you should be this sculpture's next custodian. Mind you, our fair price for this unique and very large, Midcentury crucifix...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful...

One of a kind architectural element made of brass and bronze exceptional three arches, ornate columns , with two beautiful winged Cherubs overlooking on...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Custom burl wood framed art that features an antiquarian handwritten letter in French, dated "Paris Le 6 Novembre 1825". This versatile artwork and can be displayed in any living roo...

Vintage Romanian Ceramika hand-painted terra cotta pottery decorative plate. European plate highly detailed marbleized pattern in shades of green, rust, yellow, ivory and dark brown. Vintage Handmade ceramica de Horezu pottery...

Great looking and highly practical 1960s design wall coat rack. This beautifully designed, perfectly executed and highly practical midcentury coat rack could be the ideal piece to...

Vintage Delft tile featuring a noble man riding a horse. This characterful Delftware tile a man on horseback in expressive blue coloring on a whit...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful...

Handmade museum-quality unframed reproduction of “Still-Life of Glasses in a Basket" by Sebastien Stoskopff. This oil painting reproduction captures the essence of Stoskopff's origin...

Large and eye-catching wall chart with fantastic graphics, featuring a pigeon which was used for educational purposes. Great artwork to add to existing collection of this well known ...

Large Gustavian Style Grey Painted Frame With Orange Louis Vuitton Print Artwork One-of-a-kind Louis Vuitton printed artwork framed with classic s...

Part of Marcin Rusak’s signature Flora collection, the wall-hanging Flora Lens 65 constitutes a unique decorative piece that works well in a variety of settings. Based on discarded f...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful pieces all handmade in Italy. The hearts take up the symbolism of love, nature, human body and our feelings. Sometimes love can hurts, but it will always be the driving force of our lives. These Biscuit porcelain Hearts are not only sculptures, each one is a vase that you can hang on the wall and fullfill with fresh flowers or ornamental flowers. This collection is entirely handmade. The material used is porcelain, of Limoges (France) and German origin, fired at 1260 C. The shape of heart is made by casting in plaster...

Great aquarium, fish tank in Murano Glass, by Cenedese and attributed to Riccardo Licata, well known Murano artist. This is an early piece with a big fish, t...

An antique rectangular mirror inscribed in a Pinewood, gilded frame adorned with water leaves and pearl friezes, in good condition. The mirror is consisting its original mirror glass...

Mid-Century Modern Ignis Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ignis modern wall decor is inspired by the inner fire that fuels love and passion, with an organic design that personifies the glowing and burning flame within this emotion. Crafted in Patagonia granite...

Philip and Kelvin LaVerne rare and exquisite rectangular "Chin Ying" wall plaque in patinated and acid-etched pewter and bronze with vibrant hand-p...

Antique taxidermy from Austria. You're looking at an extremely rare example of original craftsmanship: A hunting trophy hand-carved and hand-painted from 1960. Antlers and wooden soc...

Painted canvas with selenite sunrays and a chalcedony rosette center. The selenite sunray detail is created using selenite -- single, prismatic crystals from Morocco that were forme...

Charles Bevan, style of. A Gothic Revival hanging oak shelf with exposed through tenon joints with crossed wedges to each of those joints, crisply cut trefoils and opposite decorati...

Funky humanistic silk screen mounted on lucite frame, very interesting piece of art .

Japanese Abstract Expressionist Serigraph, Signed & Numbered edition: 25/28, (MASHIKO)

Pre-Columbian Terracotta Vessel, Moche culture, Peru A wonderful vessel from the Moche people in the shape of yam or yucca (manioc) root. A couple of the tips are abraded, but it's ...

Collage mixed media. Signed and dated lower left in blue pencil, J. Michael, 1966. The framing treatment consists of a simple wood molding. The piece is under glass with a cream colo...

Large handcrafted decorative Indian Mughal Moorish brass tray. Embossed and hammered with floral and mystique animal scenes with Arabic script etched. Large decorative hanging...

"Vital IV" is a one-of-a-kind wall-hanging piece as part of Vanessa Barragão's newest collection in a purple, pink, and red color palette. This piece is woven and handcrafted by the...

Located a stone's throw from the Eiffel Tower in Paris, we are a French family business specializing in the purchase, sale, expertise, cleaning, restoration and conservation of tapes...

American Mid-Century Landscaping Oil Painting on Canvas of a dock scene in a distressed gold carved frame

”Winter Day In Marievik” is an impressive ceramic wall sculpture made by Pekka Paikkari in 2023. This extraordinary piece of art features a unique hand crafted ceramic design layed o...

A vintage wall mounted profile or relief of Alexander the Great molded in hand crafted French Plaster, in good condition. Not recommended for exterior use. Minor fading, due to age. ...

Elizabeth O'Neil Verner framed dry point etching of St. Phillips Church Steeple, Charleston, SC. Early 20th Century

Pair Wall Sconces by Deborah Thomas of The Northern Fleet Series Constructed using numerous pieces of broken glass jars, each individually wired to an a...

French Empire salver or oval metal tray decorated with an outstanding border. The tray features painted medallions and edges and has two hand grips. The painted coastal scene depicts...

'Blue' Wall Panel by Andrée & Michel Hirlet Material: Glazed stoneware Dimensions: H 230 x 85 x 20 Type: One-of-a-kind Year: 2018 The exploration of volume consistently defined th...

Set of 7 Antique Watercolour & Feather Bird Pictures , originating from Germany in the late 19th Century, each picture depicting a different bird perched on tree stumps in a natural ...

A dark-blue, vintage Mid-Century Modern French abstract oil on wood painting of a color field, painted by Daniel Clesse in good condition. Signed on the lower right. Wear consistent ...

Style: Italian, French Country, French provincial, Louis XVI, Antique, Neoclassical, Baroque, Rococo Product: Carved wood wall Ornament ( Painting and frame is not included) Material...

Ruffle: A piece of 3D sculptural wall art designed and made from two layers of cream leather, woven together by Louise Heighes. Measurements are 21 x 21 inches or 54 x 54 cm. Thes...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Set of 2 amara & colourless sky by Natalie Van der Massen Dimensions: 50 x H 150 cm (each). Materials: Linen, bio cotton. Off white, grijs. Technique: Manually woven. Hand-crafted. Amara & Colourless Sky is a handcrafted tapestry. Unique in its kind. With beautiful, subtle colors that create a calm and peaceful environment in every room. Paired with the Amara Tapestry to create the perfect duo. Designer's Biography Nathalie Van der Massen (°88) is a designer working in the field of textile and graphic design, interior, and architecture. After finishing her Master in Graphic Design at Sint Lucas Antwerp, she went to LUCA Ghent for a 2nd degree in Textile Design. During this study period, she was selected for a residency at the Textile Museum in Tilburg and did internships with an Italian fashion company in Como and later with fashion designer Christian Wijnants...

The Frameworks are created with the same technique as our wallcoverings and represent a unique artistic vision, which embellish the location where they are exhibited. The creation c...

"Peasants Plaque" in patinated and engraved bronze and pewter with hand enamel cloisonne by Philip & Kelvin LaVerne, American 1960's (signed front bottom center "Kelvin + Philip LaVe...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful...

A distinctive piece of vintage Mid-Century Modern handwoven tapestry wall art, crafted in the mid-1900s, this textile work combines abstract form with symbolic design. The tapestry features a bold interpretation of a shield and arrows motif, rendered in earth tone hues of ivory and brown, evoking a sense of strength, balance, and organic simplicity. Expertly woven with a focus on both texture and composition, this piece reflects the aesthetic principles of mid-century modern design—minimalist, yet deeply expressive. The neutral palette offers versatility, making it an ideal focal point for a variety of interior styles, from modern rustic to Scandinavian-inspired and bohemian spaces. A timeless example of mid-20th-century textile art, this tapestry is perfect for interior designers, art collectors, or anyone seeking a unique and meaningful piece of vintage wall decor. Dimensions: 30” x 44” x .25” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Scandinavia Material: wool, cotton Condition: Excellent The Persian Knot Gallery, SKU: 2205 Mid-Century Modern tapestry, vintage wall art, handwoven tapestry, abstract textile art, mid-century textile, colorful wall tapestry, retro wall hanging, vintage woven art, mid-century home decor, vintage abstract art, 1950s tapestry, 1960s wall art, woven wall decor, collectible textile art, handmade vintage tapestry, red yellow pink brown tapestry, modernist wall art, mid century design tapestry, Vintage Tapestry Wall Art, Vintage Woven Wall Art, Scandinavian Wall Art, Modern Wall Art, Fabric Wall Art, Handwoven Textiles, Loom Art, Textile Art on the Wall, Modernist Tapestry, Mid Century Wall Tapestry...

Set of 4 rare and unusual ceramic, iron, brass and oxidized gunmetal coat hooks made by Italian sculptor, Victor Cerrato-Torino. Beautiful, organic composition of these functional wo...

Charming Japanese Showa period two-panel folding byobu screen featuring an embroidered silk picture of beautiful gift boxes. Stunning pattern of Hanaguruma (flower cart) laden with d...

Italian Renaissance style metal wall plaque of arms and armor displayed on a round shield back.

Pair of American figural oil on canvas portraits in original gilt wood and gesso molded edge frames, New York, 19th Century John Clark Hollister, NY 1818-1905 Martha Lyman Hollister,...

Fantastical river scene with stylized trees and boat-like structures, created by noted New York artist Kevin Paulsen using paint and pigment applied to plaster coated on polystyrene,...

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...

You will not be disappointed in this wonderfully hand painted piece by the world reknown William Morley. Retaining its original Gilded Age frame and in very nice condition. A waterco...

Belgian style (17th Century) horizontal Aubusson style tapestry of crane and fox in landscape with border (prior in collection of the Cincinnati Museum of Art). Condition: (Antique...

Jumandie Seys is a Belgian artist and interior designer whose work straddles the boundary between art and design. In his quest for pure expression of form and material, he creates ob...

Henri (Rik) van Kogelenberg 'Flemish Dovecote' Naively Painted Oil on Canvas Belgium 1960s This is a delightful and beautifully naively painted mid 20th century work by Henri (Rik) ...

A mid-19th-century Caucasian Kuba rug hand-stitched onto a canvas like Linen Fabric. This item can be used preferably as a wall piece or floor covering, and it can be walked on if de...

Early Giovanni Battista Piranesi Castel Sant'Angelo Veduti Di Roma Wall Decor . Large 18th Century Etching / Engraving Of The Ruins Of Rome An Early Print Of Castle Saint Angelo By G...