USA - Wall Decorations

Very cool mid century vibrant turquoise acrylic on canvas painting in the style od Damien Hirst, 1970's, original brushed chrome frame.

Original 1989 French pantalon poster for the film Do the Right Thing directed by Spike Lee with Danny Aiello / John Turturro / Ossie Davis / Ruby Dee / Richa...

Original blueprint of a proposed auxiliary cruising ketch. The blueprint shows the hull profile, mast, spars, deck house, etc. Drawn by R.E.W. Rich blue paper. Details are delicate w...

Andy Warhol Poster Chanel 5, from a set of 4 different colors. 1997 (We also have the full set of four colors). This listing is only for one "green-turquoise" poster. This listing...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

Painted canvas wall hanging by Arizona/California Artist Jean Klafs, 1984. Titled "Hot Air", painted in 1984 by the artist. Beautiful large wall hung canvas features gorgeous colors ...

Original 1963 re-release German A1 poster by Karl Oskar Blase for the 1957 film The Cranes are Flying (Letyat zhuravli) directed by Mikhail Kalatozov with Tatyana Samoylova / Aleksey...

Large and impressive abstract art work by noted artist Anita Weschler. This piece is from her series of resin pieces done in the mid 20th C., it is in v...

Piero Guccione (Italy, 1935-2018), “Oleandro in Controluce” (Oleander in Silhouette ), titled and signed lower margins, titled, signed and dated verso, ...

This wall-covering with oversized pop art flowers is the perfect wallpaper for your child's room! Samples are available for $18 including US shipping, please message us to purchase....

Original 1989 Italian locandina poster for the film Do the Right Thing directed by Spike Lee with Danny Aiello / John Turturro / Ossie Davis / Ruby Dee / Ric...

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

Original 1973 Polish A1 poster by Maria Mucha Ihnatowicz for the film A Brief Vacation (Una breve vacanza) directed by Vittorio De Sica with Florinda Bolkan / Renato Salvatori / Dani...

Mid-Century Modern harbor painting signed, “LeMark.” The painting deviates from others of the period with it’s bright aqua blue, yellow, green and white palette. Earth tones are abundant in Mid-Century Modern paintings. Here we have something light and bright to illuminate your space. The harbor scene is rendered with broad, painterly strokes. These dynamic brush marks are borrowed from the Abstract Expressionist aesthetic prevalent at the time. This painting will be right at home in coastal locations with it’s sailboat set...

French Majolica strawberries plate Keller & Guerin Saint clement Circa 1900.

Painted by Dunbar Beck, one of America's most accomplished and successful muralists, this painting of a half-nude man floating over a succession of dancing couples below was one of a...

A vintage velvet wall hanging or bed cover from Uzbekistan, circa 1970. This wall hanging is in good condition, sturdy and clean as a brand...

French Majolica bird plate Keller & Guerin Saint Clement circa 1900.

Optical art acrylic on canvas "Triangles", stretched, wired and ready to hang Offered is an optical art acrylic painting on canvas titled "Triangles. The work is stretched, wired ...

Elegant wall hanging ornaments made of solid brass, originally part of 19th century screen salvage. Exquisite verdigris patina, light, will make ...

Small German Majolica Iris Plate Circa 1900.

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

This plump mirror shelf is a continuation of the Plump series of sculptural furniture. The shapes play upon the effect that resin has as light is refracted through the solid parts. T...

Our Brazil wallpaper is a re-creation of a classical tropical landscape mural featuring the beautiful birds, palms, and mountains of the Brazilian Amaz...

Individual pieces of glass are hand cut and placed over a welded metal frame to create a 3D dynamic and harmonious composition. Where beautiful form meets function! Each piece is han...

" Diagonales Violettes", large carborundum etching with emboss by James Coignard ( 1925-2008). France. Signed and numbered. Framed. Dimensions; 30'x23" ( framed 37"x30").

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

Bangladeshi quilts, known as Kantha, consist of two to three pieces of cloth sewn together with decorative embroidery stitches. They are made out of Saris and are mainly used for bed...

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

Very cool California freeway sign reading "scenic route" with a snow-capped mountain in the background, and brightly colored orange California Poppy (California State Flower) in the foreground. Great coloring and condition. Fantastic piece of California ephemera...

A large 18th-century Dutch Delft charger hand painted with a floral and foliate design in cobalt blue and white, circa 1750. This lovely large plate would be wonderful added to a col...

Phillip Jeffries Juicy Jute Natural Handmade Grasscloth Wallpaper, Blueberry. 1 8-yard bolt; Width: 36 IN (91.4CM) Pre-trimmed; Vertical repeat: N/A; ...

THE NATIONAL AIR AND SPACE MUSEUM by Bryan, C. D. B Hardcover Book Condition Used - Very Good First edition edition 1979 The book is approx 10" x 2" x 11 3/4" and is in a good, vintage condition with light shelf-wear on the dust-jacket. Hardcover, New York: Harry N. Abrams. With many color photographs of the Museum's exhibits. Very heavy book The National Air and Space Museum by C.D.B Byran. Experience the thrill of flying some of the world's most important airplanes and spacecraft. Best Of The National Air And Space Museum provides unprecedented access to the most popular museum in the world. The Smithsonian's National Air and Space Museum hosts more than 9 million visitors a year, and the newly opened Dulles Center three football fields long and ten stories high is a phenomenon in its own right: in the first week it was opened, some 250,000 people came through the doors. Best Of The National Air And Space Museum features the best of both museums, from the Challenger space shuttle and the Wright flyer...

Suzani, a Central Asian term for a specific type of needlework, is also the broader name for the hugely popular decorative pieces of textile that feature this needlework in vivid col...

Through a deconstructive process, a photograph is broken down into individual aluminum composite tiles which are hand cut and placed over a welded metal frame on different elevations...

100% silk scarf handwoven and hand-silkscreened finished with hand-rolled edges Measures: 35.4 x 35.4 inches edition of 2,500 custom gift box The scarf takes its motif from a...

Maysong Spring is a beautiful chinoiserie mural wallpaper with large white blooms on a cool blue background. This design can add visual int...

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

32 individual pieces of glass are hand cut and laid out to form a bespoke wall sculpture composition. Each piece is hand created by the artist Karo Martirosyan in his studio in Los A...

32 individual pieces of glass are hand cut and laid out to form a bespoke wall sculpture composition. Each piece is hand created by the artist Karo Martirosyan in his studio in Los A...

French Majolica bird with grapes aqua plate signed Sarreguemines, circa 1880.

32 individual pieces of glass are hand cut and laid out to form a bespoke wall sculpture composition. Each piece is hand created by the artist Karo Martirosyan in his studio in Los A...

25 individual pieces of glass are hand cut and laid out to form a bespoke wall sculpture composition. Each piece is hand created by the artist Karo Martirosyan in his studio in Los A...

Original serigraph by Sister Mary Corita Kent (1918-1986). Sheet size: 25"h x 30"w. Titled “Would You Go to Jail if it Would End the War? Quote by activist Daniel Ellsberg. Important & rare serigraph protesting the Vietnam war. Signed lower right in ink. Ca. 1971 Loosely tipped onto a black mat board measuring 26 x 31 inches. Neither matted nor framed. In excellent condition with no damage. Sister Corita Kent (1918-1986) was a nun and art teacher at Immaculate Heart College in Los Angeles. Her departure from the school (and the order) in 1968, was partially related to tension between the order and the church over the progressive reforms of the Vatican II movement, but it was also timed with her own artistic commitments and rising renown. Throughout the 1960s, she made radio and TV appearances and lectured around the country. Before Warhol made the medium famous, she was working in serigraphy (screen-printing) because it could be cheaply mass-produced and widely disseminated. Her lively, colorful works speak through graphic simplicity as they combine Bible verses, brand logos, literary quotes, and even Beatles lyrics...

On offer is a Japanese summer kimono woven from indigo blue linen with ivory color fine stripes patterns with apparently darker weft additions. The elega...

36 individual pieces of glass are hand cut and laid out to form a bespoke wall sculpture composition. Each piece is hand created by the artist Karo Martirosyan in his studio in Los A...

Large Majolica asparagus platter signed Keller et Guerin Luneville, circa 1890.

Carl Brandien Oil on Board. Florida Subject. In excellent condition. Canvas size: 16"h x 20"w. Frame size: 17 ½h x 21 ½w. Signed lower right “Carl Brandien ‘44. Ft. Lauderdale, Fla.” Titled on the verso “The Little White House by the Sea - North Ft. Lauderdale Beach - Fla.” Signed on the verso “Carl Brandien 1944. The Vagabond Artist” Beautiful Ft. Lauderdale Beach Scene by the iconic NY/Florida artist and world traveler. Carl Brandien (1886-1965), and his wife Kathleen first came to Ft. Lauderdale from New York City in 1941. They loved the area and moved there permanently two weeks before Pearl Harbor. Brandien, who called himself the vagabond artist, traveled with Kathleen around the world on a quest for life, and to discover and paint beauty. Brandien did commercial illustration for many magazines including Life. He opened his Little Studio at 716 E. Las Olas, in Ft. Lauderdale in 1942. The Miami Herald, January 16, 1944, pictured Brandien and his wife. “With inspiration from the war and the fight for democracy, Carl Brandien, America’s ‘Vagabond artist,’ here with his versatile British-born wife, Kay, at their Fort Lauderdale studio, believes that American artists are destined to produce the finest art of all times…Now hanging at the White House is his painting ‘Stars and Stripes’ depicting the U. S. War fleet at anchor in the Hudson, with brilliant display of searchlights against the night sky… ‘I have visited 45 countries over a stretch of 25 years, always seeking to understand the meaning of life and then endeavoring to interpret it through my art.” At the end of World War II Brandien closed his Lauderdale studio and returned to New York and Gloucester, Massachusetts, but couldn't stay away from Florida. The couple returned in 1948. Brandien painted murals for the Friars Club and the Russian Club, in New York City and the Officers Mess Hall...

Fantastic find! Believed to be a one-of-a-kind maquette, this was possibly a billboard work up for the New York Journal American. Closed in the 1966, the newspaper was known for colo...

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

German Majolica birds & roses plate, Circa 1900.

This lithograph by Marcus Elliott features a post-modern woman portrait, titled "Woman In Watts". The blue and yellow zig zag lines used to depict its Venus operates as a metaphor fo...

Individual pieces of glass are hand cut and placed over a welded metal frame on different elevations to create a 3D dynamic and harmonious composition. Each piece is hand created by ...

Beautiful Signed and numbered lithograph by Sandu Liberman depicting two lovers embracing each other. Sandu Liberman was a Romanian-born Israeli painter...

Roses Blue is one of our many lovely Chinoiserie mural wallpaper selections. It is the perfect addition to any hallway, dining room, powder...

Whimsical Modern Nude vintage Art Blue Lithograph artist Donald Borthwick signed and numbered 10/20 D Borthwick Artist Donald Borthwick California M...