California - Decorative Art

Tamar Markova Folk Art painting, 1970s.

Vintage 1967 original etching named signed and numbered "Nocturnal Abode" #3/7 H. Valoff 1967. 1967 Original etching by Artist H. Valoff Is Framed And Ready To Hang. Nocturnal Ab...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...

Great esoteric clay painting / sculpture. Wheel thrown clay with sculpted stalagmites. No cracks, but has some barely visible hidden minor chips on the stalagmites (covered in black ...

A vintage handmade block print of a cat in a warm wood frame is a charming and unique addition to any home. This delightful piece of art captures the pla...

Original turns of the 20th-century gold-tone artwork "THE FOUR SEASONS" "Spring" silhouette glass print in original gold-tone frame by the artist Fidus. Each piece of art features a scene of young nudists in different seasons, spring, summer, autumn, and winter. Spring features a group dancing in a circle much like Europeans dance around maypole in spring. Framed 3.5" x 7" Hugo Höppener dropped out of art school in 1887 to join the vegetarian and nudist commune of Bavarian painter-philosopher, Karl Diefenbach. Withina few weeks, police raided the place. Charged with nude sunbathing...

Pair Royal Vienna Austria Hand Painted Art Nouveau Porcelain wall chargers,c1890 A cobalt blue ground to the edge with gilt flower decoration. Ima...

Rosenthal collectible, set of three framed German plates. One by Vasarely, 1936. "Leben und Leben lassen, Liben und Lieben lassen" Limited edition, s...

Henry Joseph Campotosto (Belgium, 1833-1910) A Very Fine Oil on Canvas "Walking the Baby Goat", depicting two young dutch girls by the grassy shore of a river bank, one standing holding a wicker basket and a leash to a resting baby goat, the youngest sitting next to her on a pile of branches tucking her pants, a pair of ducks and ducklings swimming by the tree lined river; within a later giltwood carved frame. Signed (l/r): Campotosto Henry. Circa: Brussels, 1870. Note: The artist is also known as Henri Campotosto Henry or Henri Campotosto was born in Brussels in 1833. He studied in Brussels at the Royal Academy des Beaux-Arts and painted some artworks with Eugène Verboeckhoven (Belgium, 1798-1881). He received a 1st Class Medal at the Academy of Brussels and an honorable mention at the Paris Exhibition of 1860. In 1871 he moved to London with his family and remained there for life. He exhibited his work at the Royal Academy Exhibition until 1874 and at the Suffolk Street Gallery from 1878. In 1880 he took part in the Berlin Academy Exhibition. His daughter Octavia also became a painter, visited Italy, and showed her paintings at the Royal Academy from 1871 to 1874. Henri Campotosto died in London in 1910. High Sales: Christie's New York - Property from an American Collection, "The Bird's Nest" - Lot 247 on October 22, 2008, Sold for $37,500 Bonhams London - 19th Century European, Victorian and British Impressionist Art on 28 September 2016 - Lot 33 "Gathering flowers" Sold for £25,000 ($33,750 USD) Museums: The British Museum - Print of two girls and a lamb and print of two girls by a river bank Literature • E. Benezit Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Librairie Gründ - 1976 Edition - Volume 2, Page 488. • Maurice W...

Unique Continental Enamel on Curved Copper Plaque, 19th century or Earlier. Charming hand painted plaque period era women in the woods. Signed CS ENGERY t...

Loet Vanderveen was born in Holland and worked in fashion and later living in New York, London ,Zurich worked in the Zoo sculptures using great patinas. This orangutan is signed and ...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Italian Monumental Tiled Augustus Wall Art. Black and white contrast to create a wonderful large scale tiled art face of Augustus. Wonderful design. Thousands of pieces used to crea...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

A large, luminous, and captivating 2004 en plein air impressionist oil painting on masonite board in giltwood frame titled “Spring Thaw – Lake Tahoe” by award-winning Northern California landscape artist Silvio Silvestri. Strikingly beautiful and vibrant depiction of a tree-lined, turquoise-toned, snow melt stream in Lake Tahoe, California. Dotted by pops of colorful wildflowers, with a majestic lavender-hued mountain range and bright blue cloud-dappled sky in the distance. Excellent technique and eye for detail and atmosphere on display throughout. Signed at lower right, and titled and signed on verso. In original giltwood frame with hand-carved details. Dimensions listed are overall; sight is H 23.38 inches x W 29.38 inches. Silvio Silvestri (b. 1948) is a celebrated Northern California-based plein air artist who paints on location throughout the western United States and Europe, and whose work is influenced by French, American, Spanish, and Russian Impressionists. He studied with Kenn Backhaus, Ron Rencher, George Strickland, T.M. Nicholas, and Robert Sandidge. Silvestri began painting in the mid-1970s as a hobby, and embarked upon a professional art career in the early 1990s. His awards include 2nd place, Napa Museum Plein Air Exhibition, 2003; 1st place, Catalina Art Festival...

Embark on a journey of artistic excellence with our mid-century modern wall sculpture, a testament to the innovative design and craftsmanship of the era. This hand-crafted masterpiec...

Mid-Century Modern graphic Textile wall art.

Vintage Italian ceramic sculpture by Otello Rsa for San Polo of Venezia, pink Othello design, signed back of ceramic not visible due to wood pa...

Antique Chinese scenic painted carved wood doors. Each door is beautifully carved on one side and candles painted on the other side with mang Ming sty...

Wonderful vintage mosaic wall sculpture designed by California artist Max E. Neufeldt in the United States. Rarely can you find such a unique work where technique and arrangement in ...

One of a kind melted crayon Emmy award covered in resin with wood frame by Mauro Oliveira

A large vintage Deruta Raffaellesco decorative wall plate with scalloped rim. Majolica hand-painted with magnificent detailing and artwork, extraordina...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Mesmerizing French still life oil painting on board. The midcentury painting depicts a pheasant on a tablecloth with green cabbage. Amazing detail and brushwork set in a distressed g...

Large vintage Italian Murano glass bowl center piece, clear glass with white and multicolor designs. A colorful handblown Murano sculptural Italian art glass large bowl or centerpiece. Dino Martens AVEM style multicolor Millefiori rainbow Italian art glass centerpiece bowl. The bowl has a whimsically beautiful tutti-frutti candy effect decoration. Vintage Post Modern Murano colorful...

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

Beautiful jewelry box by the known American artist Ken Belgian. He worked in Taxco, Mexico in a modern/primitive style craft . This wooden box ...

Look at this Chinese antique wood carving panel, it has very deep 3D carving works of Chinese folks art - deer and immortal holding a glossy ganoderma- meani...

Heidi Melano after Kazimir Malevich large suprematist Mosaic panel, 1980. Glass tile and plaster mosaic panel after Suprematist artist Kazimir Malevich's 1927 painting "Mystic Sup...

Discover a unique blend of art and history with this captivating block print of an animal. Set against a soothing green matte, this vintage piece stands as an intriguing dialogue bet...

Royal Vienna & Haviland Limoges Porcelain Signed Plate Female Beauty, circa 1900 Beautiful Hand Painted Women in Red White & With Auburn Flowing Hair &...

Original acrylic abstract painting on board with a gilded wood frame, by American listed artist Rick Orr. Measurements with frame: 17.5” Wide, 21.5” High, 1.5” Deep.

Vividly colorful and classically composed, yet loosely painted, this original still life oil on canvas painting of flowers in a vase on a table is a fine example of the work of famous, listed, deceased American Impressionist painter, Louis Ritman...

Happy and full of joy, this vintage woodcut of a seated little girl titled 'Wish'n Puff' is a complete delight. This charming hand-colored piece is signed by the artist Sister Mary C...

A wonderful Hermes Paris silk scarf - the pattern is a vibrant palette of carousel horses - festive and ready for a spin!

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Early 20th century blue Moroccan Ceramic plate hand made in Fez. Handcrafted and glazed decorative ceramic bowl from Fez, Morocco. Featuring an elaborate hand-painted Moorish pattern...

Abstract Painting by Barbara Beretich (1936-2018). It is entitled Silver Wide and depicts a moder abstract landscape. It is artist signed and was painted in 1985. Additional infor...

This is an amazing work in semi precious stones in Hardstones or Pietra Dura work. This is a Museum quality work. Framed measures 21 x 24 inches. In back has a partial detail of ston...

Mid-century modern portrait painting of a bearded man on board by Pascal Cucaro. Beautifully painted on textured masonite board with oil. Site measuring 3.5 inches wide and 7.5 inche...

A rare gemstone artwork in the art nouveau style modeled after Alphonse Mucha's "Spring". The painting was done on the back of glass and applied with quartz to create the iridescent background. The Goddess finely painted, delicately inlaid with natural gemstones. She wears a long mermaid...

Mid-Century Modern style bas relief decorative wall sculpture framed in American oak.

Set of three Brutalist copper walls pieces in industrial metal frames. Uniquely textured and boldly graphic, this set of three unsigned French midcentury decorative abstract artworks...

Fantastic pair of late 20th century paintings by Ira Yeager (1938-2022). "Unseigneur Francois" and "La Duchesse de Modena" oil on canvas paintings measurin...

A set of three mounted hand painted wallpaper panels in simple wood frames. Beautifully and elaborate painted scenes with birds, flowers,...

David Allgood "Iris" Signed Serigraph numbered 261/500. Framed. Made in USA, c. 1980's.  

Vintage 1967 original Etching titled, dated, signed and numbered "St. Petersburg" #6/6 H. Valoff 1967. 1967 Original Etching by Artist H. Valoff is framed and ready to hang. St. ...

Wonder woman blast is a pop Art piece by Anabel Ruiz. Her art is mixed media with paint on Wonder Woman comics. Signed in the bottom left corner.

Midcentury art panel made from scraps of antique glass bottles scavenged from the infamous renovation of Amsterdam's Muntplein Square. A dynamic p...

This unique brutalist wall relief was sculpted with bronzed resin over wood, in the style of Paul Evans, circa 1970s. Incredible textures and col...

Large bohemian woven wall art / tapestry by Don Freedman, circa 1970's. The piece is in very good condition with no holes or tears and measures 33.25W x...

Original Hand Made Art Mask, a lifelike image of Itallion actor Marcello Mastroianni. This mask is very dimensional with great artistic details an...

Raul Coronel "Jeweled Village" ceramic wall plaque Art.

Salvador Dali Signed Lithograph, 1970s.

Beautiful and graphic oval glass art bowl by Rosenthal. This beautiful piece from the late 90s is graphic and detailed. It shares yellow and amber tones along with a smoke purple ton...

Vintage 1960s original etching titled, Signed and numbered "The Underworld" #4/10 H. Valoff 1960s. 1960s original etching by artist H. Valoff is framed and ready to hang. The und...

Vintage 196s Original Etching Titled, Signed and Numbered "Dreams" #4/10 H. Valoff 1960s. 1960s Original Etching by Artist H. Valoff is framed and ready to hang. Dreams Is it's t...

Vintage 1962 original Etching titled, dated, signed and numbered "Moscow Symposium" #4/4 H. Valoff 1962. 1962 original etching by Artist H. Valoff is framed and ready to hang. Mo...