Hand-Crafted Wall Decorations

Bursting with color and life, The Blue Squares Quilt by Tra-La-La Quilts is a joyful celebration of handcrafted artistry. Measuring 125cm x 99cm (49” x 39”), this vibrant quilt is a ...

"Bahar" which translates to Spring in persian, was born on a beautiful spring filled with light and joy. she is the new member of the series of chain wall hangings. its nomadic feel ...

Danish ceramic wall mirror decorated by hand and designed by Marianne Starck for Michael Andersen & Son in the 1960s. Solid, thick ceramic frame with navy blue and light grey persia ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely vintage large wall hanging tapestry of "The Lady And The Unicorn" A very good looking and decorative piece. This is an a period early 20th century piece and will look expensive, decorative and important in any setting. Condition wise, apart from normal patina I can't see a single thing wrong with it anywhere, it looks sublime the lady and the unicorn Touch, taste, smell, hearing and sight... These six tapestries, woven in around 1500, represent the five senses against a detailed red background. The remaining sixth sense, explained only by the inscription “À mon seul désir” (To my only desire), has inspired countless theories. Without excluding a possible meaning in the register of courtly love, it could be a reference to free will: the woman with her decorative headdress and refined clothing, renouncing temporal pleasures. These “millefleurs” (“thousand flowers”) tapestries are characterized by an abundance of flora, including flowers, orange trees, pines, hollies and oaks, and are inhabited by a peaceable bestiary (a monkey, dogs, rabbits and a heron). In this idyllic natural setting conducive to contemplation, the unicorn by turns a participant and a simple spectator. Accompanied by a lion, it sports the coat of arms of the Le Viste family in every scene. The Lady and the Unicorn wall-hanging was acquired in 1882. It is now considered one of the great masterpieces of Western art. Dimensions Height:- 128cm Width:- 166cm Depth:- 1cm Please note all measurements are taken at the widest point, if you would like any additional or specific measurements please ask The Grail Tapestries The Quest for the Holy Grail In the early 1890’s Sir Edward Burn-Jones designed a series of tapestries illustrating the Quest for the Holy Grail. These were produced in collaboration with William Morris and some of them are now in he care of Birmingham Museum and Art Gallery. For conservation reasons the tapestries are only exhibited occasionally but are on show as from today, 22nd November 2008, until February 2009. This sequence of tapestries was originally designed for William Knox D'Arcy, for the dining room of his house, Stanmore Hall, Middlesex. It was the most extensive decoration scheme that the firm of Morris & Co completed. A set of ten were designed by Edward Burne-Jones, who produced the figurative designs and based the costumes loosely on those of the twelfth century, John Henry Dearle, who designed decorative detail, and William Morris, who designed the heraldry. Several further versions were woven later, although the entire series was only repeated once, for D'Arcy's business partner, George McCulloch, in 1898-99. Birmingham's version of 'The Summons' is from the series produced for George McCulloch. The subject matter is based on the 15th century Thomas Malory...

Amazing abstract work by the well known artist Laddie John Dill. signed in back and date .

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...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. A wallcovering design that was the result of a collaboration with Martyn Thompson, a world-famous photographer...

Beautifully framed Fish (F. & S. IIIA.39) screen print in color, on wallpaper, with full margins by Andy Warhol, American 1983. This has been custom framed by Lobel Modern. There is ...

Largest collection of Portuguese tiles in the world 17th Century Portuguese Tile Panel. Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by ...

GORGEOUS! MID CENTURY MODERN BRUTALIST DIRECT METAL RECLAIMED WOOD WALL SCULPTURE Enameled In the manner of Curtis Jere 45" wide by 28" high by 4" deep This marvelous metal...

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...

5181 Ceramic and stone Peacock wall panel 1950's

18th century silk embroidered art work. Depicting children and fairy tales. It is very rare for works from this time period to depict a black...

A Mid-19th Century, antique rectangular French wall relief with a garland and decorated with fruits and foliage hand carved in limestone, in good condition. Authentic and naturally a...

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...

This exquisite dense and hand-knotted Baotou (sometimes spelled Paotou or Paotow) rug features a deep blue background adorned with a polychrome design, showcasing three lotus flowers...

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...

Armogrès Belgian 'Zodiac' Studio Pottery Dish. Belgium, 1960s. Beautiful and large 'Zodiac' themed studio pottery dish by Armogrès, one of the f...

Large size antique Gothic Art painting 'The Apparition of the Virgin Mary to Saint James'. We are by no means connoisseurs when it comes to antique paintings, but we have seen enough antique paintings to know when something is special, decorative and truly inspiring and interesting to look at. And the large size of this antique work of art, makes it impressive too. Also, because it must have taken one very skilled painter an awful lot of time (probably weeks, if not months) to hand-paint this famous religious scene. According to ancient local tradition, on January 2nd of the year AD 40, the Virgin Mary appeared to James on the bank of the Ebro River at Caesaraugusta, while he was preaching the Gospel in Iberia. Looking at the perfectly painted ancient landscape and the kneeling figure who is in awe of what he is witnessing (by the river bank) we believe this is in fact the apparition of Mary to James. Following that apparition, by the way, St. James returned to Judea, where he was beheaded by King Herod Agrippa the first (in the year AD 44). Judging from the skillfully painted individuals in the Renaissance Style and the striking and lively colors, we believe, this late 1800s painting is the work of a true artisan. This work of religious art on the back reads 'Sacerdote Salvatore Rosa, Dipinse 1889' which means Priest Salvatore Rosa, Painted 1889. This priest clearly had a god given talent and god bless him for having created this masterpiece. Apart from some minor imperfections this large and nostalgic painting is in very good condition and we believe it will look particularly great in a church, monastery or chapel. At the same time, a one of a kind antique like this will ofcourse also look great atop the stairwell of a mansion or in the entry hall of a French castle etc. We don't know the 'exact' value of this large size antique painting...

This vintage Mid-Century Modern handwoven tapestry is a stunning example of textile art from the mid-1900s, offering both artistic value and design versatility. Featuring a bold abstract composition, the piece is skillfully woven in a dynamic palette of red, yellow, pink, brown, and tan, capturing the vibrant spirit of the era. The intricate craftsmanship and rich colors bring warmth and texture to any space, making it an ideal focal point for modern, eclectic, or retro-inspired interiors. Whether displayed in a living room, study, or entryway, this tapestry adds a distinctive artistic presence and celebrates the timeless appeal of mid-century textile art. Perfect for collectors, design professionals, or anyone looking to elevate their space with an original vintage statement piece. Dimensions: 32” x 45” x .25” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Scandinavia Material: wool, cotton Condition: Excellent The Persian Knot Gallery, SKU: 2204 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...

Largest collection of Portuguese tiles in the world 17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white ti...

Rare Large "Tower of Babel" painting in patinated and engraved bronze and pewter with vibrant enamel cloisonne, colorful hand-painted enamels and unique sculpture frame by Philip & K...

An antique wall relief in white Statuario marble of rectangular shape, depicting the Three Graces, in good condition. They were goddesses originate...

Midcentury impressionist view of a market possibly in Old Jerusalem. Great color and subject matter. Signed but cannot decipher. Period 1960s Frame.

Beautiful custom framed antique herbarium floral specimens, collected circa 1890. Handwritten names in lovely Swedish script. Specimens include cat's foot, wild oat, and others. Pres...

The White Plate consists of 8 plates combined with a still life of a small green glass bottles with a branch of oak leaves and a blue glass wine bottle on a dark red carpet. This art...

Charming neoclassic yet naive mixed media collage using a sea fan and seashells as a bouquet in a watercolor classical urn with scholastic style notes. Presented under glass in a wor...

Fabulous abstract depiction of a Japanese Samurai in ceramic tile, 12 pcs framed and matted. Beautiful tiles, in absolute stunning colors with exquisite lines. In excellent vintage c...

Åke Holm (Swedish, 1900-80) was one of Sweden’s leading ceramic artists in the 20th century. He worked at the Höganäs factory in his early years before opening his own studio in the ...

John Powell (American, b. 1930), "Thoughts of Spring", serigraph on paper, pencil signed "John Powell" at lower right, numbered "AP, 10/60" at lower left. In this work the focal poi...

Large glazed ceramic amber and black fish platter / wall plate, Spain, 1950s. The perfect serving piece for entertainment or party with four compartments. It can be hung on the wall ...

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...

Rare decorative Christmas plates, released to celebrate the centenary of the first decorative Christmas plate. The anniversary cymbals were released by the Danish company Bing & ...

Mirror infiny medium wall decoration mirror made with led lights with mirrored glass and plexiglass creating an infiny mirrored effect. Exceptional piece...

Large Pichhavai Hindu Painting of Radha and Krishna with Female Gopis. Pichhwai Hindu Painting of Krishna and Radha framed under glass. Kris...

So proud to offer this Rare complete set of all 12 signs of the zodiac. Each piece is signed and numbered. The artist is Arne Peterson. We are not sure i...

A vintage French architectural wall relief or panel featuring an oak leaf, in good condition. Nicely aged patina, the architectural model is molded in french plaster and refinished b...

Stunning Mid-Century two tier wall shelf in bamboo, rattan and hand-woven wicker. This stylish organic wall shelf was made in Italy during the 1970s. Fully made with bamboo, rattan ...

Antique ship vessel handle wheel.

Functioning wall clock, model design Adolf Loos, circa 1920, white enameled octagonal metal housing, clear glass in nickel binding (flap missing), black hands and numbers, signs of u...

Great looking and deeply carved Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting dates from the late 1800s and it has a marvelous combination of floral Gothic elements that make it a joy to own, to use and to look at. All handcrafted more than 100 years ago and always well taken care of, this Gothic Revival wall bracket has the most wonderful shape and a striking patina. This organic design with its natural, flowing lines of the deeply carved Gothic leaves also give it an almost circular look and feel. This rare church relic was once connected to a church column where it would undoubtedly have been the base for a marvelous Saint statue. If you look closely at the image of the backside, you will be able to see that the rounded part has been professionally flattened out so that it now can be used against a (flat) wall. Apart from a few minor imperfections this Gothic antique of approximately one hundred and fifty years old could not be in better condition. Thanks to the thick wooden opening in the back, mounting this antique bracket...

A beautiful antique pub scene themed wall decoration plate or sign. This decorative item would make a beautiful ornament on each wall. Made in the 1890s it i...

This is a traditional Japanese hat. Japanese people wear hats like this to protect their heads from the hot sun. Farmers and people who traveled long dista...

Antique and unique wall coatrack with amazing alabaster carvings. It is not often that you find an antique that is not completely original, but where they have done a great job in creating a, so called, marriage that simply looks beautiful. This handcrafted wall coat rack was made around 1900-1910, but the exeptionally detailed, hand carved alabaster tiles date back to circa 1850-1870. These mis-Victorian works of beauty are hand-carved in deep relief and both the fruits in the vases as the scrolling leaf patterns in the center tile are among the most detailed we have ever seen. All three tiles have no breaks in them and only minor losses. So if you are looking for a unique antique wall rack...

Large 47 inches Vintage, hand carved walnut French wall shelf. Numbered item made in France exclusively for Bloomingdale in the 1960s. Very good ...

UTAGAWA KUNIYOSHI (1797-1861) - Antique woodblock print - from the actor series - third print only (part of a triptych) - contained in a vintag...

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

'Symmetry Fold Triptych' is a unique wall installation by the British artist Steven Edwards, created from black stoneware. The surface has been covered with a golden / bronze-like gl...

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

The primary motif of the embroideries is the paisley, a set of four 19th-century Suzani offers a unique blend of beauty, history, and craftsmanship. Their intricate paisley moti...

1960's Salvador Dalí's Cerberus Inferno 6, is part of Dalí’s larger series of illustrations for Dante Alighieri’s Divine Comedy. This series was commissioned to mark the 700th annive...

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 beautiful p...

A beautiful collection of eight large Swedish herbarium studies with original dated labels, 1951. Catalogued by hand with the Latin name of the plant. Archival quality framing with a...

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...

Good size, partially gilt and great looking Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting da...

Hand made porcelain hanging piece by ceramic artist Kristina Kotlier. Porcelain bells are hand strung onto cotton rope. Custom sizes available.

Serene Japanese Showa period two-panel folding byobu screen depicting a large spring blossoming prunus tree or plum tree. Beautifully painted with ink and natural color pigments on m...

Vintage Thai Temple charcoal rubbing. Hand crafted temple scenes at the Wat Pho temple located in Phra Nakhon district in Bangkok Thailand...