Small Still-life Prints

Winter Landscape is an offset print on canvas realized after Josip Generalic in 1961.  Signed on the plate and dated on the bottom center. Good conditions and aged. The artwork re...

This exquisite lithograph after Georges Braque (1882–1963), titled L’Atelier (The Studio), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Br...

This exquisite lithograph by Alexander Calder (1898–1976), titled La lune et porc qui pique (The Moon and the Prickly Pig), originates from the historic 1963 folio Derriere le Miroir...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

John Moore (b.1941) Place Setting, 1979 Lithograph on wove paper Hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front 17 × 22 inches Unframed This elegant still life lithograph is hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front. About John Moore: John Moore is an acclaimed contemporary realist painter...

This is a striking original antique colored botanical mezzotint and line double page engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 1. Musa,...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 056 Subject: Sedona, Framed Size: 17" x 21" x 0.8''inch, 23x53x2cm, Ready to Hang, Wooden Frame. Glass, Plastic Wrapped ...

Pair of reproductive prints after Jean le Pautre’s engravings after Claude Ballin, 1670s, heightened with gouache and gold, on Fabriano wove paper, a deckle edge at bottom. 22 x 14 3...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 190, published by Aimé Maeg...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: If you were to buy a Goyard bag and have it monogrammed you would cho...

Brad Davis's "Candy’s" is an oil on wood panel painting measuring 20 x 20 inches, with an overall framed dimension of 22 x 22 inches. This contemporary realist piece captures an evoc...

Original colored lithograph of a seaside village done in a post modernist style. Edition 46/175 in pencil lower left margin. Signed in pencil by the artist lower right margin. Circa...

This exquisite lithograph by Alexander Calder (1898–1976), titled Tamanoir (Anteater), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeu...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CI; CII; CIII & CIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 48-49, 1952. Published by A...

"Seaview Motel" Photography 14.5" x 20" inch Edition of 20 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edition of 5: 29" x 4...

This piece titled "Weed Wreath" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is shipped in the pictured white frame and ...

We’ll Kick Her Through by John Scott Martin [2021] Original Linocut print Image size: H:37 cm x W:37 cm Complete Size of Unframed Work: H:49.5 cm x W:49 cm x D:0.1cm Sold Unframed Pl...

Brad Davis's "Camp Washington Caddy" is an oil painting on wood panel, measuring 11 x 22 inches, with a framed size of 14 x 25 inches. Expertly framed and ready to hang, this artwork...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left, 'Epr. d' Artist' (Epreuve d'Artist / Artist's Proof); also indistinctly inscri...

This high-quality reproduction of La Bouteille de Rhum by Georges Braque is a striking example of early Cubism, a movement co-founded by Braque and Pablo Picasso. The limited edition...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

This framed hand-colored stipple engraving entitled "Cactus Peruvianus Cierge du Pérou" by Pierre-Joseph Redouté, Plate 58 from his illustrated publication 'Plantarum Historia Succulentarum ou Histoire des Plantes Grasses', published in Paris in 1799. It depicts a branching limb of a cactus with a beautiful flower. There is a separate detail of the anatomy of a seed with early growth. Redoute was a pioneer of the stipple engraving technique, which he used to create this image. It involves utilizing a series of small dots worked into a copper plate rather than the more common lines. These dots can be made smaller or thicker depending on the degree of opacity the artist intends for various areas of the print. When inked and applied to paper, this allows for a greater portion of the paper to be seen, which accentuates the appearance of luminosity of the subject the artist is creating. Different color inks are used in the printing process, a time consuming technique known as "a la poupee". The engraving is then finished with watercolor to further enhance the beauty and realism of the print subject. This engraving of a flowering cactus is presented in silver-colored ribbed wood frame and a double mat; cream-colored outer mat and heather green inner mat. The frame measures 21.25" high by 17.25" wide by 1.13" deep. The sheet measures 19.88" high by 14" wide. There are wide margins with a few short tears and chips along the the left, right and upper edges, which are all covered by the mat. There are small spots predominantly in the margins, with a few present in the image area. The print is otherwise in very good condition. There is another Redoute flowering cactus listed on 1stdibs, LU117326853392, which is framed and matted identically to this one. The pair would make an attractive display grouping. Pierre-Joseph Redouté (1759-1840), was a painter and botanist originally from Belgium, who pursued his extremely successful artistic career in France. He is well known for his watercolor paintings of roses, lilies and other flowers and their subsequent folio-sized, color stipple engravings. Some believe him to be the greatest botanical illustrator of all time. Redouté was a favorite of the French royal court at the time and of the post French...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 056 Subject: Malibu Cliffs, Framed Size: 21" x 17" x 0.8''inch, 53x23x2cm, Ready to Hang, Wooden Frame. Glass, Plastic Wra...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 115, 1959. Published by Aim...

Artist: Sachi Hayward-Tsutsumi (Japanese/American, 1926-2023) Title: Morning Light b Year: circa 1980 Medium: Color etching Image size: 11.75 x 10.75 inches Framed size: 20.75 x 19 i...

This is a hand-printed photograph using the 170-year-old cyanotype process. This is a negative (reversal of the dark and light tones) of the original photograph of a branch of a magn...

This image is #12 from an edition of only 75, Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after...

Henry Evans (1918-1990) Grenache Print signed, numbered 70/120, dated 1975 Light exposure 33 x 50.5 cm

Three plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: XLVIII; XLIX & L. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Artist: Ben Shahn, American (1898 - 1969) Title: The First Word of Verse Arises from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Siz...

Un Coin de Cuisine is an artwork realized by Charles Meryon in the 1870s. Etching. Image size:24x31. Good conditions. Realized for the "Société des Aquafortistes. Born on the i...

Artist: Beth Van Hoesen – American (1926- 2010) Title: Fresno Basket Date: 1974 Medium: Color aquatint and etching, hand colored with watercolor Image Size: 12.25 x 12.75 inches Fram...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: JF Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXLI, CXLII, CXIII & CXLIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

A celadon decorated Chinese vase with flowers, with a full moon and clouds in the background. Intaglio print with Chine Colle, signed, titled and numbered by the artist. While the i...

Artist: Ben Shahn, American (1898 - 1969) Title: Many Things from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 in....

Artist unknown "Tomato Sauce I" c. 1960s Lithograph on paper 18.5"x23" unframed unsigned

Flowers Color lithograph Signed in pencil (see photo) Annotated in pencil "Eprueve HC" (see photo) A trial proof reserved for the artist Printed by Mourlot, Paris First edition was 1...

Punk rock ignited a lot of creative and philosophical things for me, and punk principles continuously remind me that speaking truth to power and questioning authority is paramount in life. The Dead Kennedys, The Clash, Black Flag, and the Circle Jerks are just a few of the groups that referenced injustices such as police brutality and abuse of power in their songs, inspiring me to speak out about the same subjects through my art. I have made a lot of lasting friendships through punk rock and its cultural offshoots. One of those friends is Sean Bonner, who began ordering my prints in the '90s while he was art director for punk label Victory Records. Sean designed the package for the Bad Brains...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

Hommage a Couperin is an artwork realized by Mario Avati, 1975. Etching on wove paper. Signed, dated, marked and numbered "6 etat 5/15". 37,5 x 48 cm. Very good condition.

As a uniform of toil, a symbol of status, or a protective accessory, the bandana is an archetype of Americana. Western heroes like John Wayne wore them around their necks in a flouri...

This piece titled "Weed Wreath (edition 4/6)" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is the fourth in an edition o...

Print. Limited edition 10. Signed by the author. Different sizes upon request.

This piece titled "Weed Wreath (edition 2/6)" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is the second in an edition o...

Well-knowned as an architect and an archaeologist, undoubtedly Giovanni Battista Piranesi, is the most important engraver of the 18th century: the leading artist in this field in the...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 011 Subject: Rowboat, Framed Size: 17" x 21" x 1.5''inch, 43x53x2cm, Ready to Hang, Wooden Frame. Glass, Plastic Wrapped ...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Still Life is an original screen print on paper realized signed "Piscini" and realized in the late 20th Century. Hand-signed in pencil on the lower margin. Good conditions. Beaut...

Peter Doig (British, b. 1959). Lapeyrouse Wall, 2004 Etching and aquatint printed on wove paper Signed and dated in pencil by the artist Edition 24/30 Published by the artist With fu...

UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 3 silkscreen layers and matte silkscreen varnish 60 × 50 cm Edition of 100 hand-signed and numbered by the arti...

This is a rare 17th century engraving of a plant entitled "Pee-amerdu" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 19 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Pee-amerdu plant, a large leafed plant climbing plant off the Malabar Coast in India. The plant is noted for its medicinal uses. It may be related to Tinospora species. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked watermarked paper. The sheet measures 14.88" high by 18.75" wide. There is a central fold, as issued. There are a few faint smudges, a spot in the upper margin and there is minimal irregularity of the left edge of the paper where the print was previously bound in the 17th century publication. The print is otherwise in very good condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van Rheede tot Drakenstein...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 027 Subject: Grand Canyon, Framed Size: 17" x 21" x 0.8''inch, 23x53x2cm, Ready to Hang, Wooden Frame. Glass, Plastic Wrap...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...