Glass Wall Decorations

Vintage original artwork features an abstract landscape with silhouettes of three gnarly threes standing on what appears to be either riverbank or a road. Soft, muted palette in sha...

Wonderful polychromed lithograph under glass with reverse glass hand painted gold gilt rectangular double lined border, along with a hand painted black matte; unique; I have not seen...

A fine vintage Scotch whisky (or whiskey) spirits promotional advertisement mirror from Scotland, framed in ebonized wood and featuring a painted and et...

Antique Lithography Print with Sporting Dogs 19th Century A finely crafted lithograph showcasing three sporting dogs at rest. It is a colorful print of the late 19th century, encase...

Abstract Modern Etching, entitled "Magnificent Jungle Cats", by Louise Nevelson, American, circa 1965. It is hand signed by the artist and numbered 13/20. A very limited edition of t...

By Gimenez Nunez mixed media Brutalist Wall Art sculpture Mexico 1970s Made in brass, aluminum and glass. Framed Art. Signed lower right. Measures: 14 H x 34 W x 2.5 D. inches Pre...

Alexander Pope Jr. (American, 1849-1924) A pair of chromolithographs from Upland Game Birds and Water Fowl of the United States, 1878 The Golden-Ey...

Rare aluminum and glass illuminated wall sculpture "Rottura Spazilae" designed by Akikaze for Poliarte.

This is a large vintage architectural villa plan. A French, framed print after Edmond Jean-Baptiste Paulin (1848 - 1915), dating to the late 20th century, circa 1970. Striking mount...

Exceptional painting by famous Mexican artist Amador Lugo Guadarrama (April 12, 1921 – June 26, 2002) was a Mexican painter, graphic artist, writer and c...

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

Small rope shaped Wheel shape Barometer Audoux Minet, circa 1960.

Elegant colored Glicèe technique print representing a leaf motif. The handcrafted frame is in gilded wood with mirror inserts. Giclèe is a French term “to spray”, referring to how a...

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...

American School (20th c.), Interior scene, watercolor on paper, signed and dated "Wisner, '81" lower right. A charming, colorful and detailed representation of a beautiful room-scape. It makes me want to grab a good book and snuggle up by the fire. The framing is by The House of Heydenryk...

Magnificent Susan Tibbles life sized 3-diminsional art assemblage titled “Master Lock” framed sculpture in purposefully distressed display case or shadow box. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Specifically, the bottom left corner of frame was broken and a new piece was glued in by our experienced staff. Frame is purposefully distressed. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, 1989. The definition of a woman? SHE is complicated… SHE is strong… when she isn’t feeling weak. SHE is happy… when she isn’t feeling sad. SHE can do anything placed in front of her… if she can get out of bed. SHE is bold and daring… but sometimes she feels simple. SHE is independent… but sometimes she needs you. She doesn’t want to “blend in” … but she’s judged if she “stands out.” SHE is too old to wear this and too young to wear that. She is too fat; she is too thin… She is your best friend… but SHE is her own worst enemy. She is aged longing for her youth… she is young longing for adulthood. SHE has been labeled as mother, grandmother, wife, girlfriend, partner, daughter, sister… but WHO is SHE to herself?? If SHE is strong willed… she is a b**ch. If SHE is sexy or seductive… she is a tramp. If SHE is reserved… she is a prude. She doesn’t care… but she really cares TOO much! If she could see herself as others do, she would see that SHE is a creation of perfection. Exactly who she is supposed to be. Unique. Individual. Irreplaceable. Definition of a woman? SHE is a masterpiece… but SHE is complicated. We have an incredible life-sized art assemblage created by renowned designer Susan Tibbles for your viewing pleasure! This piece is titled “Master Lock,” and was custom made and hand crafted by Susan Tibbles in 1989. It is composed of a masterfully sculpted and crafted 3-diminsional woman’s silver negligee, thigh high fish net stockings with lock details on the thigh straps, black spiked stiletto heels, and a silver beaded & spiked neck collar with a ring attached to a full-length chain draping from the collar to a hook at the top of the case. The chain hangs down to the base of the case where it gathers between the spiked heels. SASSY!! The sculpture stands in front of a black leather-like back drop inside a monumental black and white display case...

Eugène Galien-Laloue (1854-1941) "Theatre du Chatelet" watercolor and gouache on paper signed 'E Galien Laloue' lower left, within a giltwood and gesso c...

Stained glass trilogy Depicting Christ shining a torch after a quote from Oscar Wilde ‘Religion is like a blind man looking in a black room for a black cat that isn’t there, and fi...

Wall mirror made of shaped solid brass and hand-worked French design, 1950. The lower part of the mirror is slightly arched as seen in the photos, elegance and exceptional craftsm...

Selection of Joan Miro large color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that l...

Photograph wall decoration Moon photography on glass.

William Klein - Four Heads, New York, 1955 / printed 1981 Gelatin silver print Signed, titled and dated to verso '4 Heads New York 1955 William Klein 1981'. image: 12.75 h x 9.625...

Vintage Tree Wall Tapestry, 1960s

Barometer Weather Station around, 1960s Original condition

A gorgeous mosaic wall hanging on board by Hilke thor Straten, circa 1970s. The bright and colorful piece is in very good vintage condition and mea...

Four colored etchings depicting a menagerie of animals: a zebra, a pair of leopards, a panther, and a pair of tigers rendered with bold colors and delicate line-work. The original et...

Elegant hand-colored print representing two golden shells. The handcrafted frame is in gilded wood with mirror inserts. This print is made with a special technique called giclée. The...

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:...

This signed and numbered lithograph was done by the renowned Joan Miro of Spain, and dates to 1975 and done in his Abstract Modernist style. This large lithograph is titled "Maravill...

the portrait come already laid on a white metal support , on the back there are holes to hang the panel on the wall

"John Stobart (British b. 1929) paintings and limited edition prints are collected around the world and seen by visitors of the Peabody Museum in Massachusetts and the Portland Museu...

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...

Greg Copeland Mid Century Mirror Art This mirror art measures: 40.25 wide x 1 deep x 40.25 inches high We take our photos in a controlled li...

Wall mount plate glass shelf, having a thick ( 1" ) top, with brass brackets. Well crafted, sophisticated design, in very good, original condition. Made in the USA in the Italian sty...

A Four-dial Barometer/Thermometer in Mahogany, dating from the George III period, and English in origin. Signed at the base "R. Taylor Chepstow". The barometer with swan neck pedim...

Original 1930s French Art Deco poster, artwork by Fabrice Mory, published by Chaix, France, circa 1935. This is a vintage original on linen and has been professionally framed under g...

A superb Italian 18th century reverse painted on glass painting in its original frame. The painting is set within its original and most elegan...

A pair of Alexander Calder lithographic posters: one for the Salon de Mai, 1968 and the second entitled “two serpents in black and red” from Derriere le Miroir, 1973. larger: 19 ½...

Mid-Century Modern Unique Wall Decor Piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. The Unique wall decor is a tribute to individuality, embracing t...

Set of twelve with cream colored faux bamboo frames. Each depicting Chinese furniture and interiors.

Exceptional pair of 19th century Chinese gouache paintings on pith paper depicting birds and flowers executed in the traditional gongbi technique. Presented under glass with french m...

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

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 ...

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...

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...

Hand-colored copperplate engraving depicting an interesting old view of Copenhagen seen from Frederiksberg Castle Gardens, approximate. 1790-1800. Framed in a mahogany frame from sam...

A wonderful, brightly colored, large exhibition lithograph print by famed Japanese American artist Masami Teraoka titled "Thanatopsis/Contemplations On Death. (Zen Monk and Ascending...

This is a lithograph of John Forsyth, who was the 13th Secretary of State of the United States, serving under both Andrew Jackson and Martin Van Buren. It is most likely from the ...

the portrait come already laid on a white metal support , on the back there are holes to hang the panel on the wall

An antique Japanese Shunga woodblock print in gilt frame depicting a man and a woman making love. Created in Japan, this woodblock print called...

An American Revolutionary war bond from the State of Connecticut from the late 18th century in custom black frame under glass. From the poignant tapestry of America's Revolutionary p...

18th Century Portrait Miniature Attributed to Christian Friedrich Zincke (1683 - 1767) A young girl, possibly a relative to Charlote Tilson, Lady Deane (b 1918), half length, her ha...

handmade technical drawing. Stamped in 1925 by Technical University in Brno. Ink on a paper. Newly framed in mat anthracit steel frame. Mat glass.

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...

A set of three prints after the original historical medical engravings, 20th century. frames: 17 by 15 inches

Chinese School (likely 19th c.), ink, watercolor and gouache on laid paper, apparently mounted on backing sheet, no signature or mark detected, framed under glass. A traditional Chi...

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...

Poster in 1985 created for the exhibition "David Hockney Images and thoughts for Vogue magazine" for the Galerie Claude Bernard in Paris. It promoted the work that the artist created...

Charming photomontage collage of girls at play with dogs, cats and birds in foreground. Whimsical happy work of art in the manner of Hannah Höch. Not sign...

Large Mogens Koch Oregon pine frame made by Rud. Rasmussen Cabinetmakers, c. 1965. Label from here. Please note: The Picasso lithograph is sold and ...