Hand-Crafted Wall Decorations

A white, vintage Art Deco French wall, bas relief of a female head made of hand crafted plaster, in good condition. Signed on the lower left. Not recommended for exterior use. Minor ...

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...

Very large, stunning Nordic decorative hanging wall plate / centerpiece / bowl in muted earth tones. Peanut brown matte glaze with navy ...

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...

Pair of "Chinois Plaques", models 101 and 102, in patinated and engraved bronze and pewter with hand-painted enamels by Philip & Kelvin LaVerne, American 1960's (signed). The delicately engraved scenes are exquisite. Reference: ALCHEMY: THE ART OF PHILIP AND KELVIN LAVERNE written by Evan Lobel with Kelvin LaVerne, published by Pointed Leaf Press...

A late 18th Century, antique Swedish Gustavian rectangular wall mirror with its original mirrored glass and blue color paint, made of hand crafted gilded Pinewood, in good condition....

Rare and beautiful, fire gilt Art Deco era sculpture of Christ. Some crucifixes come with sculptures of Christ in terrible agony, but the face underneath the crown of thorns on this...

This rare large painted unframed canvas from the mid 18th century portrays the image of an idyllic pastoral scene in Southern France. Featuring a group of herons and swans in the di...

An antique rectangular mirror inscribed in a Pinewwood frame, gilded, the pediment formed by an openwork flower basket spilling sinuous gar...

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...

Two of the recurring themes in Paloma Castello's work converge again in Gineceo (Gynaeceum): an exquisite femininity and her fascination with the ancient world. However, far from the...

Practical size, wall display cabinet for medals, keys, pins etc. This beautifully designed and all handcrafted single door cabinet is as unique as you are and it can be used for al...

A vintage French oil on canvas painting of Napoleon Bonaparte as Emperor in a hand carved original gilded wooden frame, painted by S. Chapin in good condition. The wall décor art pie...

American three masted clipper ship diorama under glass in shadow box gilt frame. Mid-19th century.

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...

An antique French Provincial pair of vertical decorative wall panels made of hand crafted Pinewood, depicting bundles of tied cloth, in good condition. The reliefs have a light-grey ...

Rare and remarkable Moroccan wall shelves handcrafted in mahogany featuring parapet tops, architectural nooks, finials, balustrades, stick and ba...

This French vintage oil on board painting illustrates a peaceful moment at a modest homestead in rustic landscape. The vintage carved wood frame emphasizes the architectural and deco...

Mirror stormtrooper medium wall decoration mirror made with led lights with mirrored glass and plexiglass creating an infiny mirrored effect. With lacq...

A vintage wall relief or panel made of French plaster, featuring two cherubim in good condition. The relief is molded in French Plaster and refinished by hand. Not recommended for ex...

A beautiful antique North African Tuareg Sahara bag. Tribally hand crafted, dyed, embroidered, leather bag with long fringe. The Tuareg are Berber...

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 ...

Early 19th century, Napoleonic period oil painting on an oak panel. If you are looking for early 19th century, French art with a military topic then this romantic style rural scene ...

This is a Vintage Mid century charcoal on paper female nude study. This nude study is presented in a mid century hand carved gold frame with a cream...

Great sample of the French artist Michel Anasse in this metal welded surrealist sculpture of the series " Musicians ".

Dimensions - (Frame) H: 16 1/2 in W: 11 1/2 in D: 1 in (Plaque) H: 12 1/4 in W: 7 1/4 in This exquisite Antique Italian Early 20th Century Pietra Dura Inlaid Marble Plaque is a stu...

APPUNTITO WALL HANGING, designed in 2025. Artisanal ceramic plate created by skilled artisans in Project 213A's own ceramic workshop. Each piece is unique due to its handmade nature...

One of a kind, large sculptural round red concave glass disc wall sculpture, Italy, 2024 reminiscent of an Andy Warhol pop art sculpture. Large round tinted glass in a dramatic red h...

Four panel wall sculpture that measures 48" x 30". Hand formed ceramic pieces in unglazed white stoneware. Pictured with cotton and tencel fringe detailing in white, grey and tan. Ha...

Four panel wall sculpture that measures 48"x30". Hand formed ceramic pieces in unglazed white stoneware. Pictured with cotton and tencel fringe detailing in white, tan, rust, and blu...

Stunning Dorothy Gillespie metal ribbon wall sculpture, wonderful usr of color, texture and space. Photos do not do this piece of art any justice...

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...

19th c., Americana, a large scale gilt and forest green painted cast plaster eagle, depicted spread-wing, with crisply detailed overlapping feathers. With mounting bracket on reverse. This is a very handsome example of an iconic form. The combination of the gilt and forest green paint is striking. Depictions of eagles can be seen across American art. The national bird of the United States, the eagle has been used as a symbol of American freedom for centuries. This is a fine example in the style of John Haley Bellamy...

NICOLE OUELLET - #83/200 - Vintage fine art hand colored copperplate engraving - signed/dated/numbered at the bottom of the print - double bevel edged matte - vintage wood and gilt f...

Early 20th Century Set of Silk Embroidery of Peacock & Phoenix

Stunning wall shelf in curved rattan and bamboo. This unique object was made in Italy in the 1960s and is attributed to the mastery of Franco Albini. This gorgeous wall shelf is fully made in curved rattan with a structure made of a single curved bamboo cane. The whole is kept together by a stunning weave of rattan wicker. The materials used make this shelf light...

Modernist Fishes Oil on Canvas, Europe, 1970s. Beautiful modernist painting of fishes - semi abstract. Very colorful and elegant. Fits in various interior styles. Comes in a good ...

Good size, finest quality and superb condition antique wall crucifix. This antique work of religious art consists of a top quality carved, oakwooden cross and a superbly hand-crafted bronze corpus of Christ with a beautiful patina. The rare wooden cross comes with superbly hand carved 'fleur de lis' symbols on all ends which makes us believe that this ecclesiastical antique in the Renaissance Style originates from France. This bronze sculpture of Christ clearly depicts Jesus just shortly after the suffering has ended and His body could no longer hold on to life. People think of different things when looking at Christ who died on the cross, but no matter what you think of most, this antique crucifix...

C1890- 1900, French pair of trophy plaques have been mounted on oval, carved oak backings, which has a very intricate bronze molding that hold the Oak plaques. Both trophies are hun...

19th century American framed still life depictions of fruit, set of 10. Group of 10 small framed still life depictions of fruit, to include: watercolor theorem depicting apples on a...

Italian Renaissance style (19/20th Century) vertical tapestry with a red background and a center crest with the initials "AS" having figures and floral background design. Condition:...

This artwork is a hand-painted ceramic plate featuring an abstract depiction of a rabbit, a fox or a similar animal. The central figure is stylized and simplified, capturing the esse...

ALBERT GILLES (French/Canadian - 1895-1979) - Capucines (Nasturtium) - vintage copper repoussé panel - signed lower right - Canada - late 20th century. Excellent vintage condition -...

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

This is an exceptional sage green handmade wall sculpture designed by Finnish modernist Maija-Liisa Vasenius for Kalevala Koru, 1960s The piece is signed "MV" on the verso complete ...

Beautifully framed original abstract drawing, Untitled, 1997, pencil on paper, 30" x 22" sheet, by Martin Kline, signed and dated in lower left. Martin Kline’s (b. 1961) work ref...

- 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. This is a designe...

Handcrafted Moroccan hand-painted glazed ceramic plate with a yellow background and adorned with geometric black Moorish designs. Signed in the back in Arabic “Safi", which is the ci...

Striking mid-20th century wall sculpture by Casa Devall, featuring a cluster of stylized palm trees crafted in mixed metals. The textured gilt leaves catch the light with a warm glow...

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...

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

Winter Landscape Snow Scene Country Road Painting Oil on Canvas Framed Argnegger . Late 19th-early 20th century winter landscape / snow scene, by...

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

5185 Vintage Alunimum reposse bird wall sculpture on a brown velvet backround Image size 16.5x 14"

Under the blanket project, Naomi Clark creates what she titles quilt paintings. She breathes new life into old wool and cotton camping blankets culled f...

SUPERB ! MID-CENTURY MODERN ABSTRACT HANDCRAFTED TILE MOSAIC DIMENSIONS: Approx. 26" by 14" Dated 1953 This magnificent mosaic wall art work is...

Judy's work was originally influenced by the light and space movement . Her work was inspired by well known artists in downtown Los Angeles, like Ed Ruscha and Larry Bell.Marked , st...

A Flemish Figural Tapestry Panel Dating from late 17th century Hand woven in naturally dyed wools and silks Depicting a Maiden playing a musical instrument within a garden setting...

"THE FOUR SEASONS" Art Deco French School beginning 1900 watercolor on paper. Framed. Dim.: 114 x 47 cm. good conditions

" Flight to Eternity" Hand Made Silver Threads Embroidered Tapestry Re-Edition Made on custom made Rubelli fabric (Italy). This artwork is the last and final re-edition. This stunnin...