Hand-Crafted Decorative Art

A vintage Mid-Century ivory color silk brocade collectable Japanese ceremonial kimono. One of a kind. Fabulous museum quality ceremonial kimono in pure silk with intricate detailed h...

A rare and evocative example of Spanish Colonial art from the Cusco School, this 17th-century oil on wood panel captures the iconic biblical scene of Sain...

A vintage horizontal architectural wall relief featuring a laurel tree branch, in good condition. The architectural relief is molded in French Plaster and refinished by hand. Minor f...

Pair of fine Art Nouveau / Jugendstyl gilt bronze relief wall plaques, with wonderful details, mounted in walnut frames. The reliefs depict Diana, ...

Unique chainsaw carved wooden functional sculpture usable as a multifunctional piece such as a side table. Carved from a single piece of wood and protected with the highest quality o...

A polychrome glazed pottery wall plaque decorated with several fish, created by Helmut Schaffenacker of Ulm in the 1950s. Helmut Schaffenacker was a renowned German ceramist known fo...

This is a paper fan with bamboo which was made in Japan around 1990s. In the middle, there is a logo (Family crest) which is called Kamon in Japanese. This kamon is called Odamokko. The Odamokko is a traditional Japanese family crest...

Great sample of the French artist Michel Anasse in this metal welded surrealist sculpture of the series " Musicians ".

Mid-century modern signed Scandinavian art pottery wall decoration, which can also function as a large plate or bowl. This piece is known as “the Peacock” and has a very 70's feeling...

This is a large bamboo frame believed to have been made in Japan between the Meiji period and the early Showa period. Its original purpose is unclear, but the narrow holes and struct...

Wall Sculpture #765 by Karen Gayle Tinney Six panel wall sculpture. Hand formed ceramic pieces in unglazed beige stoneware with white, tan, and gray cotton fringe. Hanging wires are...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

Paradise Garden Silk Rug by PERSIAN SIGNATURE, Persian Carpet This decorative silk wall rug is a hand-finished Persian design featuring a vibrant Tree of Life filled with exotic bird...

A vintage Mid-Century modern American wall sculpture made of hand crafted metal designed and produced by Marc Weinstein, in good condition. The abstract Brutalist décor piece is comp...

Antique Japanese wall panel black lacquered mother of pearl Verry good condition

Hand crafted Modernist sterling silver on mahogany wood wall plaque by Emaus Cuernavaca, circa 1960's. Made in Taxco, Mexico and has the artist initials name on the back tag. Wonderf...

Meet the Mini ECHOE Mirror: a chic, hand-sculpted masterpiece made from a unique resin and stone composite. Each mirror features an elegantly irregular frame and comes in six vibrant...

The wooden Christmas tree set is designed to bring natural elegance to your holiday decor. Inspired by the minimal and abstract forms of Cedar, Fir, and Juniper trees, this handcraft...

Vintage and unique porcelain pieces by Limoges France. This unique and rare collection by Limoges brings the work of Salvador Dali with 6 different works on each of the plates. This collection dates to the early 80s. Each piece is numbered (great numbers for each edition along with a title for each piece and signature by Limoges. 1. Philosophe ecrase par le Cosmos no. 308 2. Les Montres Gelatines de l’expace temps no. 308 3. Dali Martien Muni d’un double microscope Holo-electrique no. 308 4. Girafe Saturnienn no. 375 5. L’unicorne laser desintegre les cornes de rhinoceros cosmique...

A charming later Victorian textured canvas applied to wood, study of Thomas Gainsborough's three-quarter portrait of the Welsh actress Sarah Siddons, presented in a period Ebonized c...

This rare and decorative early 20th-century Arts & Crafts wall barometer and thermometer is a striking testament to Dutch craftsmanship. Hand-carved from a single solid piece of rich...

This one-of-a-kind hand-painted ceramic wall plate by renowned Italian ceramist Gabriele Mengoni is a stunning work of art, showcasing the legendary Saint George. Painted in soft sep...

This one-of-a-kind antique Italian Empire Period folding screen is a masterpiece of early 19th-century craftsmanship, dating most likely from 1801 during the Republic of Lucca. Pain...

Rare and stunning work of lighting art in the manner of Loys Lucha. The glass shande is marked with initials of the artist (picture 3 and 4). If you are passionate about early 20th century decorative art then you will love this striking pendant. What you are seeing here is a one of a kind, hand painted and enameled pendant. With early 20th century lighting being one of our specialities, we too were thrilled when we first saw this amazing design. The combination of the vibrant colors and the unique and artistic motifs in this hand painted glass shade...

Vintage limoges France fine porcelain round decorative blue and gold. Elegant fine porcelain decorative plate hand painted scene with a romantic lovers scene in a garden, cobalt royal blue and rich gilding throughout, after the painting of French artist Fragonard, signed Fragonard on bottom left. Elegant precious Limoges fine porcelain to add to your French Porcelain collection. Hand painted and finely decorated collectible french porcelain in the Sevres Chateau France style. Limoges made in France...

A striking 19th century antique Imari plate with a scalloped edge. Featuring vibrant oranges, blues, and green. The multi-color design depicts traditional Japanese motifs, showcasing...

American Modern Abstract Wall Sculpture Copper Brass Metal, Curtis Jere

Great quality and condition midcentury wall coat rack. This beautifully designed, perfectly executed and highly practical midcentury coat rack could be the ideal piece to come home...

Italian Mid-Century Sculptural-Figurative Sandstone Wall Pannel / Picutre signed 1950s The mural shows a relaxed, classical-looking scene of male and fem...

This vintage French Plaster wall relief or panel depicts Erato, one of the muses in Greek mythology, in good condition. These were inspirational for literature, science and the arts....

An antique Portuguese wall relief or sopra porte made of Pinewood, in good condition. The Baroque wall panel was hand carved and is richly ornate wi...

Rare 19th century American Quilt perhaps a unique design. The obvious Navajo influence of the Red Cross symbolizing the Spider Woman is unquestionable. They're being 13 crosses also ...

A gold, antique Swedish Gustavian pair of wall mirrors made of hand crafted gilded wood with its original mirrored glass, in good condition. The Scandinavian wall décor...

The title of this work is "Evolution" in this panel the artist Lodovico Cupioli represented a river in his particular vision. From the primordial Era after the game of time, the orig...

Handmade midcentury modern rectangular ceramic wall plaque with expressive white horse motif. Matte and shiny glaze in blue, white, yellow and light gray colors. Metal mount for wall...

A wonderful 18th century Nevers polychrome plate featuring a songbird perched atop a crawling vine, looking down upon a birdbath; the rim decorated with flowers. Hand painted in vibr...

A vintage French Plaster wall relief depicts, one of the muses in Greek mythology, in good condition. These were inspirational for literature, science and the arts. Nicely aged patin...

A beautiful set of four (4) Neoclassical wall art scenes, circa mid-20th century, Europe. Set includes four different scenes with dark blue and gold octagonal wood frame, matting, pr...

Vintage Ceramic Jeziorna Polish Pottery Plate Bolesławiec 1960s Poland. Vintage handcrafted ceramic pottery decorative wall plate. Gorgeous carved and hand-painted pottery plate with...

An oversized antique Asian Buddha head made of hand crafted tropical Hardwood and finished with gilded detailing, in good condition. This large scale wall mounted decorative sculptur...

Art Deco Wool Textile or Wall Hanging, Europe, 1930s. Original 1930s art deco textile trow / textile / wall hanging with a very distinct floral and geometrical art deco design. Grea...

A vintage French bas relief or wall relief depicting Nike, in good condition. The architectural relief is molded in French Plaster. Not recommended for exterior use. Minor fading, du...

This beautifully handcrafted wall piece pays tribute to the splendor of Andalusian architecture, echoing the intricate arches and decorative flourishes of the Alhambra in Granada. Made in early 20th-century Spain, it captures the spirit of Islamic Revival style with striking detail and artisan precision. At its center are three classic horseshoe arches, richly adorned with arabesques and supported by slender columns topped with finely worked capitals. A palette of soft reds, blues, and golds brings depth and warmth, further elevated by a rich burgundy velvet background. Surrounding the scene is a remarkable inlaid wooden frame, featuring delicate geometric patterns and flowing Arabic calligraphy — hallmarks of Neo-Mudejar design. This is not only a decorative object but a conversation piece, a rare combination of cultural history, architectural beauty, and fine craftsmanship. There are signs of restorations and some chipping to the plasterwork, mostly along the edges, but nothing that takes away from the overall beauty or structural integrity of the piece. Whether you're a lover of Islamic art, architectural miniatures, or simply looking for something rich in history and charm to add to your space, this piece brings timeless character and a story with it. A rare find with true soul. The large frame may have some minor losses and but this antique art work...

A late 18th Century, antique Swedish Gustavian wall mirror made of hand crafted Pinewood with its original mirrored glass, in good condit...

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 product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. Inspired by the l...

Three blue artglass objects solboll/sunball by Timo Sarpaneva Iittala. Signed TS. Spherical blue objects from the Space age with glass threads inside. Mean...

Vintage Spanish Ceramar Talavera Wall Plate Hand-Painted, Jewel Tone Colors, Wired and Ready to Hang. Decorative Ceramic Wall Plate, Spanish Folk Art, Talavera Pottery, Vintage Ceramar, Made in Valencia, Spain. Add an eye-catching splash of authentic Spanish décor to your space with this stunning vintage hand-painted wall plate by Ceramar of Valencia, Spain. This 7-inch Spanish ceramic plate is an exquisite example of traditional Talavera-style majolica pottery, known for its bright colors, floral motifs, and folk art patterns. Key Features: * Origin: Handcrafted in Valencia, Spain by Ceramar (now closed – rare find!) * Design: Richly detailed floral and fish motifs in vibrant jewel tones – blue, red, burgundy, yellow, green, and orange * Finish: Classic tin-glazed white background, with hand-brushed stenciled detailing * Trim: Bold black rim enhances color contrast * Size: Measures 7” diameter x 0.75” height * Style: Inspired by Spanish Talavera pottery, with influences of Moorish design and Spanish folk art * Mounting: Wired and ready to hang – includes built-in hanging hole for easy wall display * Condition: Excellent vintage condition, no chips or cracks – see photos/video for full detail * Markings: Stamped on reverse: “Ceramar, Spain, Hand Painted”Why You’ll Love It: This plate makes an exceptional statement piece for wall décor – whether styled solo or as part of a larger gallery wall. Its rich history, vibrant palette, and unique hand-painted artistry make it perfect for collectors, designers, or lovers of Mediterranean interiors. Whether you're curating a wall with authentic Spanish ceramics, refreshing your kitchen, hallway, or outdoor patio, or gifting a rare vintage collectible, this Ceramar wall plate will bring warmth and artistry to your home. Spanish Wall Plate...

Impressive three tier gilt iron starburst wall mounted sculpture in the Brutalist style. Likely created by William Bowie, American circa 1970, though unsigned. Truly a living piece of sculpture, a Nova exploding perpetually on your wall. Check out the cool pic of Baba Ram Dass...

An especially nice example of a large antique Imari plate, 19th century, with a scalloped edge. Featuring vibrant oranges and blues with hints of green. The multi-color design depict...

A vintage wall relief or fragment in French Plaster features two greek warriors most likely of Cretan origin are engaged in a dance, in good condition. They are depicted naked which ...

Fine and rare pair of antique Dutch Verre Églomisé reverse oil paintings on glass panels - featuring moody landscapes with a castle and church, having ...

Middle Eastern Egyptian style (19th Century) small copper and silver deposit round charger / wall plaque with 3 figures and a harp centering various Egyptian motifs. Mounted on a stand.

Rustic style taxidermy ram's head wall plaque

This customizable Murano glass curtain in black, amethyst, clear, gray and aqua tints worked with avventurina, a contemporary work of art as a very decorative solution for a screen o...

The Hamsa hand or hand of Fatima is known across many cultures to protect its wearer and ward off bad energy. It is also a symbol of patience and claire voyance. The Artist often use...

Pair of framed Castelli majolica landscape tiles - medium size - hand painted and glazed in the 18th century style of the region - featuring bucolic ...

Frame Ulysse butterflies glass box wall decoration with real Ulysse butterflies from breeding farms in Australia. Under box frame in clear glas...

SUPERB ! MID-CENTURY MODERN ABSTRACT HANDCRAFTED TILE MOSAIC DIMENSIONS: Approx. 26" by 14" Dated 1953 This magnificent mosaic wall art work is...

Frame Ulysse Morphos glass box wall decoration with real Ulysse butterflies from bredding farms in Peru. Under box frame in clear glass. Exceptional and unique piece made in Fr...