Continental Europe - Wall Decorations

"Rondo" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel Measures: 150 cm diameter, 6 cm depth Zieta i...

Antique map titled 'Carte de la presqu-île du Balcan - Karte der Balkan Halbinsel'. Original antique map of the Balkans including Greece, Turkey, Serbia, Montenegro, Bulgaria and...

Large French painting dated 1899. Oil painting on canvas, first canvas, depicting a view of a country village with characters and animals of good...

As a study in scale, the shelf expands upon the language of the other pieces, amplifying its complexity into a larger architectural piece. The interplay between the grid, the vine, a...

Title: 1830s-1850s Hand-Colored Horse Engravings Featuring Fleur-de-Lis, Flexible, Don John, Shakespeare, Rubens, Whisker Description: This compilation feat...

Beautiful and very particular large wall mural or wall panel made of wood chipboard, printed paper and strong layer of resin cover over the paper. Made in Italy in the 1950s. The large panel shows a rural scene by the water or in a lagoon with busy fishermen in their boats, a bridge in the background with figures also on horseback, large ornate columns...

Thomas Rowladson Satirical Billiards Escene Framed Engraving Print An antique English hand colored framed print titled "Billiards" by Thomas Rowlandson, Gentlemen playing billiard s...

The Art Deco Golf Print Design by Charles Lepas, crafted in the 1990s in France, is a remarkable piece that blends the elegance of Art Deco with the timeless appeal of golf imagery. This print is not just a decorative item but a sophisticated piece of art that brings a touch of vintage charm and cultural refinement to any space. Firstly, the design by Charles Lepas is a tribute to the classic Art Deco style, characterized by its bold geometric patterns, rich colors, and luxurious details. This print captures the essence of the 1920s and 1930s, evoking a sense of nostalgia and glamour. The subject matter, centered around golf, adds a unique and dynamic element, making it a perfect piece for enthusiasts of the sport as well as lovers of fine art. The quality of the print reflects Lepas' attention to detail and his mastery of design. The vibrant colors and precise lines demonstrate high craftsmanship, ensuring that the artwork remains visually striking over time. The use of premium materials in the printing process guarantees durability and longevity, making this piece a worthwhile investment. Incorporating this Art Deco Golf Print into your decor adds a touch of sophistication and elegance to any room. Whether displayed in a living room, office, or study, it serves as a conversation starter and a testament to your appreciation for fine art and vintage...

LES CONSTRUCTEURS Fernand Léger France, 1950 Litograph on Arches Paper Original Wood Frame Very good Condiction The subject of constructions workers is one of the best-known projec...

Beautiful French tapestry from the second half of the 20th century featuring a design by Jean Laurent titled "Le Cavalier" from the 1980s. Depicting a horseman in the woods, adorned ...

French Tapestry Signed By The Aubusson Factory, Circa 1860 - 278lx200h - No. 1474 This tapestry is a fine example of the 19th century Aubusson verdure. This type of tapestry is char...

Framed lithograph by Swedish artist Kurt Ullberger (1919 - 2008). Signed & numbered

Exceptional oak neo-Gothic fireplace and hood. The uprights sides of the fireplace are composed of two columns with capitals foliage patterns, all surmounted by a reserve on which is carved an ermine (heraldic symbol). The lintot of the hearth features a mascaron representing a witch's face carved in high relief with on each side a pattern of parchments. The sculpture on the panelled hood represents a salamander. The salamander is a mythical animal capable of living in fire and extinguishing it. It is a symbol used especially in alchemy and heraldry, it is also the emblem of the King of France François 1er...

This antique and charming early 20th Century scenic wallpaper by French Zuber manufacture is made up of five rolls of wall coverings hand painted with...

Original canvas affix, Vermut Carpano "Caval ad bruns," Armando Testa, anno1953. Lithograph imprinted by Arti Grafiche Pirovano, Milan. Dimensions: 139x100 cm.

Elegant hand-watercoloured print representing Imperatoria Ostruthium, a flowering plant belonging to the family Apiaceae, painted with notes of antique rose and light blue color shad...

Carl Auböck Model #4056 Brass wall hooks around 1950s Original condition (priced and sold per piece) (per one hook) We have also the small carl auböck hooks

Kaleidoscope, sculpted wood panel made with Douglas-fir wood is a piece from Etienne Moyat, represented by Galerie Negropontes in Paris, France. ...

Michele Antonio Rapos (Turin 1733-1819), Still life of flowers and fruits, Oil on canvas frame: cm H 133 x W 124 x D 8 (canvas: cm 108.5 x 108.5) The painting depicts a triumph of ...

Color: Green Designer: Magnus Gjoen Designed by hand in Digital Art Project Miscellanea Graphic dev: Frescoes Collection: Visioni Made in: Italy Printing support: Fine Art ( front 5...

Bjorn Wiinblad, Danish artist, has created this beautiful series for German art glass & porcelain makers Rosenthal for their Studio-Line art edition. The Christmas decoration has bee...

Photographic print - chromogenic - vintage - “Adriatico” by Italian artist Franco Fontana, 1975. Signed and dated by the author at the base. Franco Fontana: (Modena, Italy - December 9, 1933) is an Italian photographer, photojournalist and writer. 2775/5000 He began photographing in 1961. A frequent photographer at the "Fotoclub", his activity is mainly amateur, even though he carries out aesthetic research on various themes. Very important will be those dedicated to the abstract expression of color, carried out in a period in which abstract art in photography was to be found exclusively in black and white. In 1963 he exhibited at the Third International Biennial of Color in Vienna; the year after Popular Photography publishes, for the first time, a portfolio with text by Piero Racanicchi. He held his first solo exhibitions in 1965 in Turin (Subalpina photographic society) and in 1968 in Modena (Galleria della Sala di Cultura). The exhibition in his hometown marks a turning point in his research. Its complex activity and the international importance of its production can be summarized in some figures. Over 70 books have been dedicated to him, published by Italian, French, German, Swiss, Spanish, American and Japanese publishers; he has exhibited in public museums and private galleries around the world - over 400 personal and group exhibitions he has held so far. His works are preserved in over fifty museums around the world, including: International Museum of Photography, Rochester; Museum of Modern Art, New York; Museum of Fine Arts, San Francisco; Museum Ludwig, Cologne; Musée d'Art Moderne de la Ville de Paris; Victoria and Albert Museum, London; Stedelijk Museum, Amsterdam; Kunsthaus Zurich; Civic Gallery of Modern and Contemporary Art, Turin; The Photographic Museum, Helsinki; Puskin State Museum of Fine Arts, Moscow; The University of Texas, Austin; Museum of Modern Art, Norman, Oklahoma; San Paolo Art Museum; Israel Museum, Jerusalem; Metropolitan Museum, Tokyo; Beijing National Gallery; The Australian National Gallery, Melbourne; The Art Gallery of New South Wales, Sydney - and private. He has received important awards and prizes, in Italy and abroad. He has collaborated and collaborated with magazines and newspapers: Time-Life, Vogue USA, Vogue France, Il Venerdì di Repubblica, Sette, Panorama, Epoca, Class, Frankfurter Allgemeine, New York Times. Among the many advertising campaigns signed...

Aythamy Armas painting. Vertical Format. Mixed technic on canvas. Signed by the artist. Circa 2022, Spain. Very good condition. Bachelor of fine ar...

Vincent van Gogh Framed Color Cliché, Editions du Chêne, 1947 Medium: Color cliché Publisher: Editions du Chêne, Paris, France Date: 1947 Frame: Solid wood (example shown, final fra...

From our Hand-Painted Furniture Collection, we are pleased to introduce you to our Moro Screen. Did you know that a group of butterflies is called a "Kaleidoscope"? The name comes ...

Oil painting on canvas depicting a natural summer landscape, created by Henry Markò in the early twentieth century. Ø cm 49 h cm 105 Henry Markò, descendant of the Austrian paintin...

Antique Chromolithograph of Naples and Mount Vesuvius with Bay Scene, ca. 1890 This luminous chromolithograph, titled “Neapel und der Vesuv” (Naples and Vesuvius), dates to around 1...

Step into the timeless brilliance of Pablo Picasso with this extraordinary color cliché, expertly edited by Editions du Chêne in Paris, France, in 1943. Adorned by a stunning solid w...

Vintage framed poster from the 1950s for the 'Loterie Nationale', design by M. Pineau, published by Le Belier, dated March 1954, Paris, France. In reasonable vintage condition, this...

Antique Handcolored Engraving of Snakes and Amphibians, c.1800 This original handcolored copperplate engraving depicts two snake species, elegantly posed among branches and foliag...

Elegant hand-watercoloured print representing Jellyfishs, from the Japanese Sea Life Series This marine style print is available in 6 different natural representations to create a br...

Title: "Agnes Sorel: Grace of the Royal Court" Description: This print depicts Agnes Sorel, famously known as the chief mistress of King Charles VII of France and a noted beauty of ...

Rare leg splint by Charles & Ray Eames in molded plywood and its unopened original wrapping produced by Evans 1943. A true mid century collectible...

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...

Antique Lithography Print with Sporting Dogs 19th Century A finely crafted lithograph showcasing three sporting dogs at rest. It is a colorful print of the late 19th century, encase...

Jan Saudek, Czech Photographer, Silver Gelatin Print, Just another Queen & Jack Title : Just another Queen & Jack Number nr. 344, Finished Tuesday, June 28, 1894, 33 C (Jan date...

Wall ad glacoid poster, France, 1890s. A glacoid is a process invented at the end of the 19th century in which a poster is affixed to a supportby trapping it under an envelope of spe...

This Flemish panel painting, dated circa 1620, masterfully depicts the Holy Family and young Saint John the Baptist. A Flemish School altarpiece work of art, a masterfully achieved ...

The prints depict a series of well-known horses from the early 19th century, each carefully illustrated to highlight the horse's unique features and importance in equestrian history....

Original 1979 Exhibition Poster by María Simón – Sala Gaspar, Barcelona Artist: María Simón Exhibition: Sala Gaspar, Barcelona Year: 1979 Dimensions: 66 x 44.5 cm Condition: Goo...

Very pretty mid century french Aubusson style tapestry with beautiful design from the painter « Francisco de Goya (1775-1792) for the royal manufactury of Tapestry » Tapestry crafte...

Ceramic hand painted large artwork of fishes by Catalan artist Diaz Costa, circa 1960. Framed. Signed. In original condition, with minor wear consistent of age and use, preserving a...

This framed tapestry, made in France by an unknown artist, beautifully represents Vincent van Gogh's iconic painting "The Bedroom." It is in original condition, with minor wear consi...

The Rivet Shelf explores basic storing facets within one shape while functioning as a storage and display platform. The Rivet design is a symbiosis b...

Title: Woodcuts Depicting Macedonia and the Turks from the Nuremberg Chronicle, Published in 1493 Description: This pair of 15th-century woodcut engravings originates from the Nurem...

Marc Chagall Color Cliché Editions du Chêne 1947 Framed Enter the enchanting world of Marc Chagall with this beautifully crafted color cliché, published by Editions du Chêne in ...

Title: Scandinavian Herring and Shad: Exquisite Lithograph from Pisces Scandinaviae Description: This stunning lithograph from the Pisces Scandinaviae series, created by C. Erdm...

Title: 1897 Botanical Prints – Azalea, Heath Varieties, and Sea Lavender This remarkable set of four original botanical prints from 1897 s...

Piet Mondrian: "Composition C n°III in Red, Blue, and Yellow" - Signed Lithography Elevate your collection with this stunning lithograph by Piet Mondrian, titled "Composition C n°II...

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of an 15th century tapestry with a design titled « bord de L’eau » (water's...

This handmade decorative tile panel combines the traditional Portuguese faience tile making techniques with a modern approach of shapes and color, res...

Add a striking touch of modernist character to your space with this Mid-Century Modern inspired abstract collage, created in Spain circa 1990. This dynamic composition features a com...

String wall shelf wall unit designed by Nils and Kajsa Strinning in 1949. This one was made in the 1960s in Sweden. A good vintage condition, traces of use due to the age, yellowed h...

View of the Piazza del Campo and Palazzo Pubblico in Siena, 14th Century This finely hand-colored print, labeled No.67, offers a masterful architectural rendering of the Piazza del ...

Original Poster- Mathieu G -Air France-Paris-Eiffel Tower Roi Soleil, 1967 This poster promotes Air France travel to France. The Eiffel Tower is represented as well as Louis XIV, ...

Antique French painting from 18th century. Oil painting on canvas, depicting landscape with ruins and characters of good pictorial quality. Wood and plaster frame of the 20th century...

Antique Wooden Carved Hand Painted Neo-Gothic Small Wall Cabinet France 19th Century Pediment Twisted Medicine Cabinet Gothic Revival Truly a beautiful rare and stunning antique hanging cabinet. Late antique 19th-century French gothic style hand carved solid oak one-door small wall cabinet. With a romantic hand painted door with flowers, and inside a nice layout. Twisted columns and is topped by gothic-like spires. And lots of more decorative details! In good authentic antique condition, with some normal traces of use and wear. Please see pictures and video, they are part of the description. This breathtaking antique showpiece...

Large block-printed wallpaper with an idyllic, idealistic harbor scene of Boston. The motif comes from the "Vues d'Amérique du Nord" series and was first presented by Jean Zuber et Cie...

The Temptation of Saint Anthony inspired by Jacques Callot. The engraving is almost identical to the one made by Jacques Callot. The detail...

French School, 19TH CENTURY, Oil on Canvas - SPANISH GALLEONS AT ANCHOR IN A BAY Canvas size 65 x 40cms. Framed size 77 x 54cms. This painting depicts a dramatic scene of Galleons...