Hand-Crafted Wall Decorations

Rare and remarkable Italian pietra dura bayscape with birds, boats and a lighthouse handcrafted in inlaid stone and marble and presented in a marble frame.

Sold individually polyester resin; hand-shaped polyurethane foam; digital print swallow tail: 78 H. x 20 x 2.5" each a limited edition of 12 plus 4 proofs Produced by Tim Bessell Surfboards...

American three panel hand painted leather screen with floral urns on squared plinths & figural statue motif. Late 19th Century . Signed by ...

A black-grey, vintage Mid-Century Modern American abstract Brutalist wall sculpture made of hand crafted gilded metal, designed and produced by Curtis Jere in good condition. The detailed wall décor piece depicts three sailboats and shorebirds at dock. Signed lower right. Dated 1972, United States. Curtis Jere is a metalwork artist of wall sculptures and household accessories...

Stunning, one of a kind bronze corpus of Christ. The meaning of this antique sculpture obviously needs no explanation. However, not everybody looks at the corpus of Christ with the same ideas and emotions. And each individual may also have different emotions and ideas depending on his or her state of mind at a certain moment in the day or at a certain time in his or her life. Besides that, every artist/sculptor may also have his or her own ideas of what he or she is trying to express and communicate. What is important to us, is that a work of religious art speaks to us. If it speaks to us then almost always there will also be someone else who sees the beauty, deeper meaning, quality, style and uniqueness. This particular corpus stands out for its exceptional physical details and its painful facial features. We also rarely seen an antique Christ sculpture...

By Spectrum Designed By Studio Parade Size Large A pure and playful wall system designed out of love for books. The fuller the cupboard, the more bea...

Nude Study in Pencil, Europe, 1940s. Beautiful and well drawn study with a male nude kneeling. Wonderful atmosphere and very elegant. At the underside of the paper there are also a few other drawings of...

Wall Sculpture #765 by Karen Gayle Tinney Six panel wall sculpture. Hand formed ceramic pieces in unglazed beige stoneware with white, tan, and gray cotton fringe. Hanging wires are...

Needlepoint Wood Framed Artwork of Tulips from Chelsea Textiles One-of-a-kind needlepoint artwork from Chelsea Textiles. This framed artwork features tulips in rust, orange, yellow and green colors. This classic piece of art would make a suitable piece to add to a bookshelf or wonderful displayed as part of a wall gallery art collection.

Royal Delft Collectors Portrait plate vintage handpainted Dutch Delftware - earthenware Style: Baroque, Vintage, Antique, Rustic Large blue and white cabinet plate - wall plaque Depi...

LAPIS Collection: HOMA's three-dimensional mirror sculptures are shaped by hand, heat and breath into abstract shapes. After the liquid glass becomes a solid piece, each form - which...

Persian decorative fabric of 19th century ( RESHT ) - Rashtidouzi Exceptional Persian fabric of 19th century (RESHT) or RASHTIDOUZI in Farsi and in very...

This is an Expressionist Style Lithograph Painting by Joan Miro. It depicts a red and white gingham fabric like background with the drawing in black color of an abstract figure looki...

Rare and good condition, Gothic-art shrine for standing or wall-hanging. This handsome and decorative, Gothic wall shrine is completely hand-crafted out of solid oak and it will look awesome, no matter where you decide to mount or place her. It must have taken its creator quite a few days to first draw this intricate design on paper and then hand carve the entire piece out of solid oak. The Gothic Style elements are deeply handcarved in both doors and they make this shrine highly decorative and an absolute joy to own and look at. This cabinet chapel (or chapel cabinet) comes with its brass lock in perfect working order and also with its original gothic style key. The handgrip is in fact a Gothic trefoil symbol (for the trinity). What also makes this piece extra attractive is the Gothic church window-like frame behind the doors. It is among the finest we have seen to date and on top of that this antique also has a beautiful and rich patina. By the way, the bronze Mary statuette is not included in our price. Finally, thanks to the hook in the back, mounting this antique chapel...

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...

Stunning and completely original, antique oak grandfather or lantern clock, circa 1750. This very old grandfather clock is one of the tallest w...

A beautiful Mid-Century Modern maple leaf design wall sculpture by Curtis Jere. The brutalist style leaf is handmade of quality bronze and b...

Another original 8 x 10 black-and-white photograph by world, renowned photographer, Bruce Bellas AKA Bruce of L.A. we have sold many on 1st Dibs from our personal collection of 40+ y...

A plaster relief sculpture by Russian American artist George Aarons (1896-1980). This sculpture by George Aarons, titled Psalm 85:10-11, visually interprets the verse's themes of lov...

A pink-white, antique French still life oil on canvas painting depicting a working table with a yellow teapot vase with flowers, painted by Eugène Henri ...

Spectacular 19th century Japanese late Edo period six-panel byobu screen depicting Yoshitsune and Benkei, two heroes of Japanese folklore. Crafted in ink and natural color pigments on mulberry paper with thick gold leaf borders on each panel. The character Yoshitsune is seated under a blossoming cherry tree in full armor holding a fan. The warrior priest or monk Benkei is depicted kneeling on a leopard skin...

Large Antique Wooden Carved Black Forest Baroque stag head with 10 Point Trophy A large antique Black Forest baroque stag head. Carved in typical abstract style of the early 18th century. It is mounted on a wooden carved and painted plaque with emblem and foliages and features a large real stag antler trophy. The head still has its original polycrome painted finish witch is partly restored. The left side of the plaque has been replaced. A great individual piece which enhances every wall decoration. A special way to present hunting trophies is to attach them to carved animal heads. This tradition exists since the Middle Ages. Even after intensive investigations, it is not yet possible to explain exactly how this happened. The carved heads are often colored and mounted on cartouches that are also carved and painted. They follow a naturalistic representation and one could think that in this way they are symbolically brought back from the abstraction of dead antlers into liveliness. Famous artists to be named are Madl in Ichenhausen, Germany and Heissl in Ebensee, Austria. Around 1900, the antler collection...

Wall Sculpture #758 by Karen Gayle Tinney Four panel wall sculpture. Hand formed ceramic pieces in unglazed white stoneware with white cotton fringe in two thicknesses. Hanging wire...

Beautiful antique frame with a print of dancing Greek graces. The frame is made of wood, with refined carving and graceful curls. The wood is decorated with stucco and gilded with gold leaf. The print is also interesting, it is an antique print with beautiful gold print, depicting the dancing graces...

Fine quality Arts & Crafts picture / painting stand in excellent condition. This beautiful gallery easel comes with two large hand crafted wooden pegs for holding your large size pa...

Woolen Color studies in a recycled box Hand-spun woolen balls - gradient - wrapped in silk and cotton yarn Handmade, hand-spun wool objects in an old box Soft balls and shapes of woo...

Beautiful gold leaf antique wood frame. Measures: 27”.25 x 19”.5.

A vintage Mid-Century ivory color silk brocade collectable Japanese ceremonial kimono. One of a kind hand crafted. Fabulous museum quality ceremonial piece in pure silk with intricat...

Spanish galleon or sailing ship wall sconce, gilt iron. Spain, 1950s In the style of Gilbert Poillerat. This spanish galleon wall light was ha...

The Paris based label has distinguished themselves since their launch, with their iconic use of shagreen mixed with brass and other exotic materials. All furniture is handcrafted by skilled artisans, ultimately making each piece unique, designed in Paris and produced in the Philippines. The Ginko mirror by R & Y Augousti is an elegant and versatile piece. The piece is both sculptural and graphic with its organic shape and floating cut out mirror...

Aged bronze, bright brass, stainless steel. Measures: 48" X 25". Kue King created this elongated wall mounted sculpture using bronze, brass, and stainless steel wire. The bronze is ...

The award nominated Franklin Shelf is a 90 degree corner shelf. This unique design allows for maximum storage space, while occupying a very small area. ...

Gorgeous Dutch antique Art Nouveau wall cabinet from the 1910s. Gorgeous Art nouveau lines in solid wood with high quality brass decorations. (thes...

17th century French Baroque wool and silk tapestry. Work of Felletin, ca 1690 France.

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...

Fierce monumental sized lions head sculpture featuring a glazed ceramic finish. The Italian majolica is beautifully hand-crafted with intricate details and vibrant colors. The large ...

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...

This large antique charger was crafted in Holland, circa 1960. The large, wall hanging plate depicts a wintry cottage scene, a Dutch windmill and boat, as well as people enjoying the frozen lake! One person is assembling skate shoes, while the other 2 stand in front of their ice sled. This platter has the traditional ditch classic blue and white palette. The ceramic piece has a flower border and features a farm house, a fishermen on a boat and a windmill in the background. The hand painted, porcelain piece is stamped on the back "Royal Sphinx...

A very rare original male nude by legendary photographer Douglas of Detroit. As most of his photos and negatives were destroyed by the police in Detroit, it is very hard to find orig...

This is a sublime piece by the hugely influential and world renowned Belgian artist Marc d'Haenens. The quality and scale of this piece cannot be overstated, a single enormous slice ...

Ruscha Keramik, one of Germanys most well known mid-century ceramic. Here a typical 1970s design, 3D shaped floral decor in an Ikebana-style presented in brown and muted red hues. Hi...

This monumental wood sculpture by Leroy Setziol (1915–2005) is a rare and significant early commission, created in 1963 for the National Bank of Portland, Oregon. Measuring an impressive 191" x 31" x 7", the piece marks a pivotal moment in Setziol’s career as he transitioned into large-scale architectural work—integrating fine art with the built environment in a way that would define his legacy. Carved in his signature style of deeply incised geometric forms and rhythmic abstraction, the panel reflects Setziol’s exploration of nature, spirituality, and cultural symbolism. Commissioned during a period of progressive architectural development in the Pacific Northwest, the work exemplifies the region’s modernist ethos—where art and architecture were conceived in harmony. Setziol would go on to complete numerous public commissions, collaborating with leading architects such as Pietro Belluschi and becoming one of the most influential wood sculptors of the 20th century. Early, large-scale works like this are exceptionally rare on the market and offer a unique opportunity to own a foundational piece of Pacific Northwest modernism. This sculpture is not only a stunning example of Setziol’s craft—it is a historical artifact from a turning point in American architectural and design history. The following is taken from the Portland Art Museum's profile of Leroy Setziol for their exhibit in 2015-16 celebrating the 100th year anniversary of his birth "Leroy Setziol" Sept 5, 2015 – Oct 30, 2016 "A composer in wood, Leroy Setziol created lyrical sculpture that honors the beauty of a material strongly identified with the Northwest. The black walnut, teak, fir, and other woods he employed enhanced his complex gridded compositions, bringing them to life. A self-taught, intuitive worker, Setziol visualized his complex carvings using the grid as an armature to frame imaginative shapes. Throughout his career, his sculpture ranged from intimate works to large-scale public commissions. The largest work on display is an elegant, teak, two-panel wall relief from 1991. Twenty-three works are on view, including free-standing sculpture, totems, and a variety of wall reliefs. Setziol’s sculpture gained greater recognition with Portland’s architectural community in 1964 when he was invited by Northwest Regionalist architect John Storrs to carve a series of large-scale relief panels for Salishan Lodge in Gleneden Beach...

19th century Japanese Edo period six-panel screen painted in Haboku (splashed ink) style. Depicts Four Seasons landscape scenes with two portraits of Chinese sages. One sage is trave...

A 19th century French Louis XVI style trumeau mirror with a sepia toned oil painting depicting a pastoral courtship scene. Pale green painted pine frame with gilded border trim. Orig...

Exceptional Danish Mid-Century Modern piece of ceramic artistry. Handmade wall plaque made of six glazed tiles (each 15x15 cm) in dark blue, light blue, eggplant gray, gold and black...

Pair of fine Art Nouveau / Jugendstyl gilt bronze relief wall plaques, with wonderful details, mounted in walnut frames. The reliefs depict Diana, ...

A round swarm of butterflies as delicate as lace in blackened bronze, lost wax cast by master craftsmen in Italy. A wall sculpture for both indoor and outdoor use. This listing is f...

This vintage French jacquard tapestry, probably crafted in the 1940s in the Aubusson style, showcases a richly detailed hunting scene. Woven in Halluin, a region renowned for its tex...

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...

Lovely antique 19th century Neoclassical wall cabinet / small cabinet Germany 1880. This German Grunderzeit cabinet is made from hand carved oak & is richly decorated. A true display of craftsmanship & quality. This cabinet has 2 doors and comes with a working lock & key. Its interior has 2 oak shelves. The cabinet has a very nice old restoration to the right side dating from the 1940s. A piece of furniture history with the right antique charm...

A large impressive Crewelwork Hanging /Bed Cover Embroidered in wool upon a cream linen ground Depicting an Indienne / Palampore design, Tree of Life Featuring mythical animals and ...

A French framed oil on canvas still-life painting from the 19th century depicting fruits, signed Morin. Created in France during the 19th century, this oil on canvas painting features mouth-watering cherries and prunes displayed in wicker baskets and flanked with a copper strainer...

This striking wooden wall sculpture is a one-of-a-kind statement piece that embodies the bold aesthetics of brutalist design. Meticulously constructed from reclaimed wood, the comp...

Large Gumdrop Mirror by Courtney Kinnare 2025 Resin, Acrylic, & Ink on Mirror Dia 30" The Gumdrop Mirror features vibrant, candy-like orbs in rich cherry and blush tones, adding ...

A true embodiment of the Artist's style of combining different mediums, this wall sculpture echoes a festive moment in time, Drawing inspiration from the Artist's moroccan roots. This sculpture is an hommage to the talented women weavers of Morocco that the artist got to meet on her last weaving in retreat in Marrakech. This wall hanging shaped out of hand wrapped manila rope using naturally dyed recycled silk yarn, sisal and. raffia. The ceramic face...

A vintage midcentury red color silk brocade collectable Japanese ceremonial wedding kimono. One of a kind handcrafted . Fabulous museum quality ceremonial piece in pure silk with ...

Wall Decoration Butterfly Crystals with frame polished stainless steel. With swordfish artwork on plexiglass with Swarovski carved crystals inserts.

A floating shelve system with a spine can be located anywhere on a wall surface. This is for a 2 set combo that comes flat-packed. You will need to either screw the spine into a stud or use wall...

Collection of five Scandinavian early 19th Century copper cakes baking mold pan featuring an intricate tiered design. Historically, Scandinavia had an important cake baking tradition...

Stunning and Large Ballet Themed Art Deco Art Panel, Europe, 1940s. A large and stunning art deco art panel featuring a beautiful ballet scene with a man and a woman dancing. Great ...