Glass Decorative Art

A striking framed collection of Antique Beadwork. Antwerp label on verso. Group of individual antique neoclassical embroidered pieces- swags with fruits, bows, a flaming heart with s...

This mid century decorative glass wall art is hand cut and made by hand by skillful artisans in Brooklyn, and framed in natural solid oak. Resistant to fading and aging. Limited e...

Framed in giltwood, the collection of red wax seals date from the late 18th - early 19th century. Each seal is mounted on a wood pin, and then the group is mounted on paper. NOTE:...

Small rope shaped pocket watch barometer Audoux Minet, circa 1960.   

Making Artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

Rimadesio wall mirror black and red woman and lipstick Pop Art 1980s Italy Lucio Del Pezzo Italian Design. Mounts a small rounded console with sliding doors, a clothes hanger and ...

Beautiful set of 3 Framed antique herb specimens taken from the private collection of acclaimed French bryologist PT Husnot, these are from his private collection of specimens and ha...

This very unusual silhouette of a Georgian era woman seen strolling in the garden is framed in a half round top. The detail is incredible- down to her eyelash seen at side view and t...

Barometer Weather Station around, 1960s Original condition

Wall Sculpture 1960s Mexican Modern Wall Art Abstract Sculpture with Figures crafted in Bronze and Glass. 13 3/4" H x 33 1/2" x 1 1/2" D, Art 29 3/8" x 9 5/8" H Original Unrestored V...

Fontana Arte Madonna and Child Glass and Brass Frame, Italy 1950s One can also change the glass with a mirror.

"Tafla C4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel Measures: 100x50x6cm Zieta is best known for hi...

Mid-Century Danish Abstract Geometric Work on Paper in Wood Frame, 1950s–1960s Danish mid-century abstract composition in muted shades of brown, beige, and blue-gray. The geometric ...

Béatrice Serre (Born in 1970) Le Champ des possibles Date : 2012 Technique : Oval-shaped relief. Mixed media, lava, glass paste, bismuth, pyr...

Great Vintage School Teaching Display of the Insects of the Forest Edge A vintage school teaching showcase with specimen illustrating the insects of the forest edge. Used as teachin...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Italian metaphysical urban landscape glass panel in a frame. Multicolored back painted glass.  

"Tafla O2" contemporary mirror by Zieta Gradient Collection: finish Gradient (emerald + sapphire) Original Zieta mirror, delivered with certificate. Polished stainless stee...

Eglomisé glass panel depicting a princes and and knit on horse back in a medieval environment.

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this allowed us to produce and divu...

"Rondo" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: Aurum (2021) Material: polished stainless steel Finish: lacquer - classic gold S...

Framed Geometric Op Art Lithograph in the Richard Anuszkiewicz's Style . Circa 1980s Features a geometric figure that successfully combines the 1980s Pastel...

A Palatial and Museum quality Italian 18th century Florentine Rococo gilt wood carved mirror frame. The ornately carved frame with scrolls and a...

Kids Playing Ghost Wall Art Pencil on Paper Brown Wash Decorative object framed. The Original Artist: Richard Westall / Title: A Ghost, engraved by Luigi Schiavonetti (1765-1810), pub. by T. Simpson, 1791A Ghost, engraved by Luigi Schiavonetti (1765-1810), pub. by T. Simpson, 1791, (attaching a colored picture ) . other known artwork Building with a Turret 1790 and many portraits that he was known for. Over the Centuries and the decades, many artists recreated the Artwork and then later copies were made of them. THE ARTWORK WE ARE OFFERING IS NOT A STIPPLE PRINT...

By Jane Peacock age 8. With a Friendship poem along with embroidered birds, squirrels, and a charming house in the country with a dog in the yard. A pretty floral vine border on all ...

A classical vintage school teaching showcase with specimen illustrating usefull insects (insects as producers, insects pollinating flowers, insect sanitary police and insects annihil...

"Tafla O4" contemporary mirror by Zieta. Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 123 x 64 x 6 cm. More shapes and sizes are availabl...

"Tafla O5" contemporary mirror by Zieta Gradient Collection: finish Emerald Original Zieta mirror, delivered with certificate. Polished stainle...

A late 19th century heraldic style leaded stained glass of a coat of arms on a shield shape. This small stained glass hanging will bring an element of vibrancy and charm to any ho...

BOLID Skateboard in polished stainless steel, finish: Emerald Green by Zieta This piece is a collectible object designed by Zieta Studio. This is a unique mirrored object and a ...

Very beautiful mirror, Regency style, a transitional style between the Louis XIV and Louis XV styles. One recognizes this style with its numerous volutes, shells and leaves. A very d...

This impressive Mid Century Neon sign shows the word "Downstairs" and is placed in a acrylic showcase. It is made in the 1980s in Germany. The Sign i...

20th c., black and white photographic prints, matted and framed under glass. A pair of polo action shots that capture the intensity of play and the agility of player and polo pony al...

ANTIQUE ORIGINAL FRAMED DRAWING Depicting a romantic scene of a young woman in a pink dress relaxing on a big blue cushion with a book open on her lap and next to a basket of roses...

'OKO 36' contemporary mirror by Zieta Gradient collection Stainless steel Measures: 36 x 6 cm. Three colors available: - Emerald green - Sapphire blue - Gradient emerald...

"Tafla C2" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: Transitions (2021) Material: Polished stainless steel Finish: Rubin Red ...

1978 yes yesyears signed by members of the band record and sleeve, original frame, signatures on front and back by Jon Anderson, Steve Howe, Chris Squire,...

"Tafla O6" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 55 x 50 x 6 cm. Zieta is best known for his collecti...

"Tafla C4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: TRANSITIONS (2021) Material: Polished stainless steel Finish: Rubin Red ...

James Bama (American Artist, 1926-2022) "The Drift on Skull Creek Pass", offset print lithograph from the original photorealistic painting, pencil signed lower right and numbered 54/...

An extraordinary Original Lithograph of Renaissance Medici Pope, Leo X (1474-1521). Beautiful hand crafted Biedermeier Frame. We believe it is from the 1860s. Viewable picture size ...

A fine pair of Victorian wooden doors from a horse-drawn hearse or funeral carriage with rectangle glass transoms at the top of each, featuring relief drapery carvings on each in old...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

Mid-Century Modern Ignis Wall Decor Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Ignis modern wall decor is inspired by the inner fire that fu...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this allowed us to produce and divu...

A set of three framed bathing suits from the 1920's. This collection of antique swimwear is comprised of two female swimsuits and a male suit which ar...

Antique collage comprised of a myriad of portraits including some full length male and female figures, grotesque faces, fashion portraits and caricatures. The black and white art are...

Rare stained glass artwork by Hubert Felix. Signed and dated 1966. Hubert designed and made some pieces himself but mostly made stained glass pieces for other artists. It measures 13...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

Vintage Original Pencil and Charcoal Study Depicting a rather serious situation at the gallows, the victim of the hanging appears to have been hanging for a while and is being picke...

"Tafla C4" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel Measures: 100 x 50 x 6cm Zieta is best known f...

"Rondo" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Stainless steel 120 cm diameter, 6 cm depth Zieta is best known for his collection of stoo...

Unusual window/light plaque by Austrian born glass artist Helmut Heibl. Mounted in pewter frame and hung by supporting chain. Signed by hand by the artist. Measurements: Approximate ...

Rare opportunity to own a collection of 9 personal effects by famed musician and actor Rudy Vallee including 4 handblown drinking glasses with his initials etc c hed into the glasses, 1969 Directors Guild of America awards, a sterling silver cigar box presented by Jumbo Tent C.S., a spelter metal statue of a quaver musical note, a signed 8x10 photo of Rudy in a ship captains uniform and a framed 8x10 photo of a Rudy from his younger days. Hubert Prior Vallée (July 28, 1901 – July 3, 1986), known professionally as Rudy Vallée, was an American singer, musician, actor, and radio host. He was one of the first modern pop stars of the teen idol type. United States 1930-1970 Included in this set -1969 Directors Guild of America award -Sterling Silver Cigar Box Presented by Jumbo Tent C.S -Signed 8x10 Photo -Framed 8X10 Photo -Spelter Metal Quaver Musical Note Statue -Pair of Red Drinking Glass...

"Tafla O4" contemporary mirror by Zieta. Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 123 x 64 x 6 cm. Zieta is best known for his collec...

Antique Russian Orthodox Icon of Theotokos of Tikhvin , Holly Mother of Tihvin / Тихвинская икона Божией Матери in Russian - the copy of one of the most celebrated Orthodox Christian...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

"Tafla C5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: TRANSITIONS (2021) Material: Polished stainless s...

ANOTHERVIEW N.24 – Botswana from a Hiden In the wild at Mashatu – 24 hours video – was filmed in Mashatu Game Reserve, Botswana on the 11th of May 2021. This window with a 24 hour v...

Amazing etching aquatint on Japan paper titled "Judgement" by Salvador Dalí from "La Historia de Don Quijote de La Mancha". In "Judgement," Dali's unmistakable artistic vision comes...