Europe - Wall Decorations

Elegant hand-watercoloured print representing "Iris". This botanical style print is available in 6 different natural representations to create a bright and joyful composition. In se...

This vintage ANRI Carl Spitzweg wood carving is a beautiful piece of art that captures the essence of a wedding proposal. Crafted circa 1960s, this relief carved wood figurine is a t...

Beautiful tile mural with the "SHIPS" motif finely painted. Quantity: 66 tiles Tile mural size: 64.9"W X 35.4"H (165cm X 90cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin: Portu...

This is a Fukuro Obi made in Japan around 1970s. It is made with Gold Silk (Kinshi) and it is in good condition. Two cranes walking or flying together is the ultimate symbol of lo...

Title: 1802 Hand-Colored Print of English Racing Horse and Race Track Scene Description: This finely detailed hand-colored copperplate engraving from Friedrich Johann Bertuch's "Bil...

Jean Cocteau ceramic dish - "Indes" from 1958 Edition original from Atelier Madeline & Jolly. White earthenware with brown engobe diameter 36 cm. Numbered 20 on 20 copies Bibliog: J...

Collection of midcentury African multicolored wooden masks. Red/brown 30cmx18cmx 12cm Black/white 38cmx19cmx20cm Brown 30cmx17cmx10cm Brown/shell brass dia ...

Title: 1897 Antique Botanical Prints – Bellflowers and Lobelias Trio Description: This stunning set of three original 1897 botanical prints showcases the Chimney Bellflower ('Ca...

Great image of the sun Unframed. Chromo-lithograph Published, C.1900 The measurement is the paper size of the print Free shipping.

Discover the elegance of this mid-century French screen-printed by hand tapestry featuring the exquisite design of a medieval museum tapestry This tapestry, a replica of the origin...

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 striking mid-century enameled wall plaque showcases a bold geometric fish motif, reminiscent of the artistic influence of Gio Ponti. Featuring vibrant hues of red, turquoise, an...

Nice Tunisian tapestry with beautiful native design and beautiful colors, entirely hand woven with wool on cotton foundation. ✨✨✨ "Experience the epi...

Giacomo Benevelli Litograph 1973 edition 51/80 Signed and numbered in pencil. framed

Beautiful Flemish Tapestry . Birds , Fruit basket ,And Flowers . signed .Good condition . 1960s

From our Hand-Painted Furniture Collection, we are pleased to introduce you to our Moro Screen. Nature has always been a source of inspiration for our hand-decorated furnishings. We...

'Shapes' wall hanging 100% Organic cotton wall hanging quilts made in short runs by a small family run artisan studio in India. Made using GOTS certified fabric which is screen printed using AZO free water based non toxic...

A rare Black Forest wall sculpture with a bear head, hand sculpted from chestnut wood. Polychrome painted head, on a wood sculpted rococo-style frame with scrolls with a gold leaf fi...

Celtic Manuscript Illumination Print by H. Dolmetsch, Germany ca. 1887 This richly detailed chromolithograph of Celtic manuscript art was created by German artist and designer Herma...

1895 *New York Sunday World* Poster by J.E. Scotson-Clark - Bold & Rare Print Description: This original 1895 advertising poster for *The New York Sunday World*, illustrated by reno...

Vintage original rope art backdrop tapestry, circa 1970s. This piece features a elegant pattern of hand knotted designs accented with wood. Adds a natural te...

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 is a digitally remastered print of Bulldogs referenced from a Victorian print originally dating to 1881. Prints of this style were originally printed in black and white and the...

The Mid Century Curtis Jeré Brutalist Venice Harbour Village Wall Sculpture, crafted for Artisan House in the USA in 1972, is a stunning testament to the innovative vision of Curtis...

Set of 2 Biblical Engravings – Christ’s Resurrection & St. Andrew the Apostle (1735) This evocative set of two antique engravings, published in 1735,...

Antique map of Maine Published By A & C Black. 1903 Original colour Good condition Unframed. Free shipping

Man Ray archive photography of Alexander Calder in 1921 Printed, circa 1970 Gelatin silver bromide, measures: 22.5 x 17.5. Man Ray (1890-1976) was an American visual artist who spe...

Set of 3 Biblical Engravings – Vision of Candlesticks, Apostle Jude & Judgment of Angels (1735) This dramatic and theologically rich set of three antique engravings, published in 1735, illustrates apocalyptic and apostolic themes from the Book of Revelation and the Epistle of St. Jude. Executed in detailed copper engraving, each scene presents spiritual visions, divine authority, and prophetic symbolism with powerful visual intensity. Ideal for collectors of esoteric religious art or as a striking triptych display. The first engraving, from Revelation Chapter I, is titled “The Vision of the Seven Golden Candlesticks.” It shows the Apostle John falling to the ground in awe as he beholds Christ standing among seven candlesticks, with stars in his hand and a sword issuing from his mouth. Christ appears elevated on clouds, radiant and commanding, symbolising divine authority over the churches. The candlesticks represent the seven churches of Asia, and the vision initiates John's apocalyptic revelation. The imagery is intense and mystical, filled with light, cloud, and motion. The second engraving, from the Epistle of Jude, illustrates “The Apostate Angels reserved as Prisoners in Chains of Darkness to the Judgment of the Great Day.” An angel descends from the heavens bearing chains, binding demonic figures who writhe in terror as beams of divine light strike them. The Apostle Jude, seated below with a scroll and astonished gaze, points to the celestial vision. The composition is dramatic, balancing divine justice with earthly witness, and filled with cloud formations, angelic figures, and dynamic motion. It vividly conveys the judgment and order of the unseen spiritual realm. The third engraving shows “St. Jude the Apostle” standing upon a stone pedestal, carrying a large wooden cross...

Verdure Le Chemin, Tapestry from the Aubusson Factory - Signed, Bolduc - 190lx110h - No. 1514 Weaver: Manufacture Aubusson Era: 19th century Style: Greenery Condition: Perfect condi...

"Experience the timeless elegance of this exquisite French Aubusson style tapestry, capturing the essence of an 15th century Flanders tapestry with a design titled « La battue » (the...

A collection of 15 sets of 10 large tall-size decorative Swedish leather-bound books from the 1950s.

Title: A Symphony of Butterflies and Moths: Hand-Colored 19th-Century Engraving from Bertuch’s Bilderbuch für Kinder Description: This vibrant hand-colored copperplate engraving...

Vintage wall plaque abstract mid century ceramic wall hanging stoneware Blue glazed Owls relief designed by Sven Aage Jensen and manufactured by S...

Title: Execution Print: Public Beheading for Murder in Rome, Hand-Colored, 1820s Description: This rare and haunting hand-colored engraving, titled *An Execution in Rome for Murder*...

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

Heroic Portrait of Polish General J. Poniatowski – 1836 Lithograph by Last & Visser A compelling 19th-century lithographic portrait of Prince Józef Antoni Poniatowski (1763–1813), o...

Title: Lusthuis of HRH the Prince of Orange at Tervuren, circa 1820s Description: This fine antique engraving depicts the Lusthuis (Pleasure House or Country Retreat) of His Royal H...

Decorative Bronze Wall Sculpture created by layering hammered bronze circles, some of which have been oxidized by time and enhance the patina of the artwork

Beautiful print that is part of a series of two, representing 2 different views of an ancient Italian vase of Villa Ghigi. It is printed with an antique press and colored by our best...

Antique map titled 'L'Ancien Monde Et Le Nouveau en Deux Hemispheres' - Double hemisphere map of the World, showing the contemporary geographical...

Original vintage travel poster for Riga Visit USSR - Рига Посетите CCCP - issued by the Soviet state tourism agency Intourist featuring tourists exploring the historic city walking p...

A large and impressive late 19th century Jacobean style decorative oak wall hanging panel, handcarved with three ornate arches, neoclassical columns, dentils and geometric patterns throughout. Formerly a fireplace overmantel...

Title: Alpine Botanical Lithograph Pair of Vinca and Trillium, 1874 Description: This delightful pair of botanical lithographs, published in 1874 by George Bell and Sons in London a...

These are a set of FOUR digitally remastered prints of Parrots, hand coloured framed prints, originally from Circa 1800s. Prints of this style we...

Antique oil on board painting by James Joshua Guthrie (1874-1952). An extremely romantic image depicting various figures of different ages walking a path through the woods at sunset...

Nice set of 13 alphabet prints. These prints are part of a large collection of fonts that were used to design lettering on facades, windows and billboards. You can also see this by the first letter, which is always placed in a grid, so that the painter could scale this letter. These prints are from France, circa 1900. They are all framed with a narrow burr walnut frame...

A vibrant original lithographic plate from Toros y Toreros, the celebrated 1961 monograph dedicated to Pablo Picasso’s exploration of the Spanish bullfight. Published by Éditions Cer...

A dynamic 19th-century French marine oil painting depicting traditional fishing boats returning to shore through choppy coastal waters. This evocative seascape, likely painted along ...

'Maze' wall hanging 100% Organic cotton wall hanging quilts made in short runs by a small family run artisan studio in India. Made using GOTS certified fabric which is screen printed using AZO free water based non toxic...

Man Ray Gelatin-Silver Photograph — “Woman with Stockings & Garter,” Archive Print from Studio Marconi (label verso), Framed & Free Worldwide Shipping A stark beam of light slices t...

Amsterdam View from the Oosterdok, 19th Century Lithograph with Boats, 1855 This attractive 19th-century colored lithograph titled *Gezigt van den Oosterdoksdijk* presents a serene ...

For sale an original signed museum-quality Magnum 6x6 photographic print by MARTIN PARR (British, born 1952). Titled "Knowsley Safari Park, England, Great Britain. 1990", this Magn...

This extremely rare work on paper by Anselm Kiefer is the one and only silkscreen and signed edition on paper Anselm Kiefer ever made. Printed on a prestigious BKF Rives Paper (fines...

Stunning lemons Manises Majolica ceramic wall decoration, Spain, 1960s. Handcrafted ceramic wall hanging sculpture featuring a bunch of...

Title: The Royal Family of France, The Bonaparte Family, and French Generals, 1815 Description: This finely engraved 1816 print presents a detailed array of portraits depicting...

"Galbanum and Hungarian Gentian: Rare Medicinal Plants Illustrated, 1805" This stunning hand-colored copperplate engraving depicts two remarkable plants: the Galbanum (*Ferula galba...

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...

Wonderful red ochre print of an 18th Century Francesco Bartolozzi engraving after Anjelica Kauffmann. Publshed by Otto Limited, London 1907 Text...

Beautiful tile mural with the "LADY" motif finely painted. Tile mural size: 64.9"H X 41.3"W (165cm X 105cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin: Portugal Production meth...

Original Japanese Movie poster for the 1969 French New Wave film directed by Costa-Gavras and staring Yves Montand, Irene Papas, Jean-Louis Trintignant. ...