Hand-Crafted Wall Decorations

This most interesting and decorative Austrian pottery wall candelabra is made in the form of a monk wearing a burgundy habit. He is reaching out from the wall with white arms and han...

Wall lamps made with the Fabscarte's wallpapers. The paper is mounted on a precious brass fan-shaped support. When turned on the lamp is suggestive of the lunar atmosphere and create...

Hand Made Glazed Ceramic Shelf Offered for sale is a handmade functional glazed ceramic shelf that is signed and dated by Rexx Fischer. Rexx is a painter and ceramicist. He is the s...

This large frieze in lacquered and gilded wood matches the pair of large antique candlesticks published on 1stdibs: but I cannot write their refer number because 1stdibs deletes. The...

Copy of landscape titled "Edge of the Nile" showing group of men and camel by waters edge under palm tree, sailboat in background

From the "Random Colors" set of four prints. This is "White over Random Colors" Published jointly in 1977 by G.W. Einstein, Brooke Alexander and Denise Rene. Printed by the artist in...

Celestial I is a unique aqua, grey & clear glass wall-mounted artwork, by the British artist Wayne Charmer. Taken inspiration from the moment that a mass of rock is literally crac...

Marquetry Panel – Alpine Lake Attributed to Pierre Rosenau – Art Nouveau, Early 20th Century An elegant marquetry artwork depicting an Alpine lakeside landscape. The composition, e...

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...

Eric Newton "Other Planets" 40/50. Looks like original frame, overall in nice shape! One foxing mark bottom left corner by edition number.

Mixed media on paper and wood behind aryl glass Mimmo Paladino, Italy 2009 (2/20) Mimmo Paladino found art inspired by his uncle, a painter who introduced him to traditional techniques at an early age. After attending the 1964 Venice Biennale, he made the decision to become an artist. He studied painting at the Liceo Artistico in Benevento from 1964 to 1968 and, influenced by Max Ernst and Paul Klee, experimented with collages, frottages and non-objective paintings. In 1968 he finished his academic training with a diploma and began to paint freely. In the early to Mid-1970s, the artist dealt almost exclusively with mythological themes, such as the Icarus myth, which he translated into drawings. In the process, Paladino developed his own fresco-like technique, significant for his later work, in which he painted large-scale walls with pastel colors. Paladino had his first exhibition in 1977 at the "Galerie Lucio Amelio" in Naples. Several trips to Milan as well as contact with the art critic Tommaso Trini and the gallery owner Franco Toselli soon made Paladino known nationwide. In Toselli's gallery he presented his murals for the first time in 1978. That same year he traveled to New York, where he met Sandro Chia and Francesco Clemente. Several trips to Brazil followed. In 1980 Mimmo Paladino, together with the publisher Emilio Mazzoli, published a book with texts by Achille Bonito Oliva. The art critic Oliva had introduced the term Transavanguardia at the end of the 1970s for the style of the new movement, mainly characterized by young Italian artists such as Chia, Clemente, Enzo Cucchi and Paladino, who found parallels in Germany with the Neue Wilde. In the same year Paladino participated in the Aperto 80 Biennale in Venice and in 1982 in the Biennale of Sydney. In the following years Paladino had exhibitions at the Kunstmuseum in Basel and at the Galleria d'Arte Moderna di Bologna. In 1999 he had an extensive retrospective at the Lenbachhaus in Munich and in the same year he became an honorary member of the Royal Academy of Arts in London. The Centro per l'arte contemporanea Luigi Pecci in Prato dedicated an extensive retrospective to him in 2002/2003. Works by Mimmo Paladino can be found in the collections of the Tate Gallery in London, the Irish Museum of Modern Art (IMMA) in Dublin, the Metropolitan Museum of Art and the Museum of Modern Art in New York. The artist lives and works in Milan and Benevento, Italy. PLANT Mimmo Paladino's works are often mixed media on paper or wood pre-sketched with drawing pencil, using all traditional means. His oeuvre includes watercolor, oil painting, and tempera, as well as collage, frottage, engraving, drypoint, or woodcut. Paladino's paintings are often untitled. Examples 1987: The Perfect Room 1992: hortus conclusus, horse sculpture in Benevento, Chiostro di San Domenico 1993: montagna bianca 2002: Le chien 2004: ciclismo 2008: Porta di Lampedusa - Porta d'Europa, iron sculpture covered with ceramic plates on the beach of Lampedusa in memory of the migrants who lost their lives at sea EXHIBITIONS 1979: Transavanguardia, Turin 1980: Venice Biennale, Venice 1982: documenta 7, Kassel 1982: Biennale of Sydney, Sydney 1984: Merianpark, Basel, sculpture in the 20th century...

The Bubbles Purple Wall Sculpture transforms mirrored glass into a captivating play of color, reflection, and light. Its titanium-coated domes shimmer in shades that shift from lilac...

Beautifully framed original abstract drawing, Untitled, 1997, pencil on paper, 30" x 22" sheet, by Martin Kline, signed and dated in lower left. Martin Kline’s (b. 1961) work ref...

Copy of a portrait in a classical style of the young Rospigliosi boy scion dressed as a member of the Swiss Guard; Two of four in a series

Set of 7 Antique Watercolour Feather Bird Pictures , originating from Germany in the late 19th Century, each picture depicting a different bird perched on tree stumps in a natu...

19th Century English Oil Painting of a Bulldog by R.H. Hearn, Dated 1874. A finely executed 19th-century English oil painting depicting a seated bulldog, signed and dated by the art...

7 Cidades Wall Decor, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Collection, 7 Cidades embodies the mystical blue and green lakes and bring curiosity and eye-catching style to any interior. The harmony between the satin finish with gold leaf gilding and the warm white light from LED is perfect for modern living rooms...

You will not be disappointed in this wonderfully hand painted piece by the world reknown William Morley. Retaining its original Gilded Age frame and in very nice condition. A waterco...

Wall Decoration Rhino Head in handcrafted ceramic.

Set of small expressionist paintings. They were painted in 1961 by Dutch artist Jan Mammen. They represent the 14 stations of the Cross. Each painting is framed in brass and topped ...

Found in Europe, this Early 20th Century Oil on Canvas was painted in the early 1900's. Artist signed Kate Von Muhlenstein, suggest the art has a German origin. This interior paintin...

We are delighted to offer for sale this original 1972, Signed in Pencil L.S Lowry LTD Edition 444/575 Lithograph Print titled “His Family” with the Fine Arts Guild blind stamp to the bottom right corner and a new, Burr Oak frame A very fine representation of Lowry’s work, this came to me in an exceptionally poor plastic 1970’s gold frame, I’ve had it replaced with a very fine English Burr Oak example with a English racing...

The largest and best wall mosaic I have ever seen from Marshall Studios. Master work of Jane Martz wife and partner of Gordon Martz. Done in varying sizes of their classic round cera...

This vintage American hand-hooked tapestry presents a charming and imaginative forest scene, rich with narrative detail and artisanal character. Rendered in a painterly palette of gr...

"Creation of the Magic Light" is a tapestry composed of four separate parts by Amsterdam-based Swedish artist Alfhild Külper in a pixelated combination of periwinkle, peach, blue, a...

Polychrome ceramic wall plaque by Pieter Oosterlinck, a Belgian ceramist working with Oswald Tieberghien and Rogier Vandeweghe. The tile with vase is marked with its pseudonym 'Poost...

A stylish Italian small rounded wall plaque hand decorated with a geometrical pattern by Ceramica D'Amore Vietri and dating from around 1950. The sma...

This antique original oil painting on canvas was done by James Edwin Meadows, a known British artist, in approximately 1860 in the period Victorian style. The painting depicts an Eng...

Pair of 18th Century Very Large Oil on Canvas Panels framed Wall mount Art LA CA . Very RARE 18th century very large and impressive pair of French / Continental painted oil on canvas...

Important 19th Century Italian Parade Plate Polychrome ceramic, with a wide brim, short frill, and a wide base. Reverse with ring support. Decoration on the rim with harpies and fan...

Circle of ALESSANDRO ALLORI Portrait Of a Young Man Wearing A Ruff Wall Art , possibly portrait of a young Nobleman Oil on Wood Panel , unsigned . signs of restoration , normal wood panel cracks due to centuries and elements as seen in the pictures but overall great piece of Art. Alessandro di Cristofano di Lorenzo del Bronzino Allori (Florence, 31 May 1535 – 22 September 1607) was an Italian painter of the late Mannerist Florentine school. In 1540, after the death of his father, Allori was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. This incredible Artwork painting would be beautiful addition to collectors or to decorate a law office a library , Hallway , Living room a man's room or as a great elegant gift idea for an office space and house warming . Antique dealer West Hollywood Melrose Ave La Cienega Blvd . On top of a dresser a semainier a secretaire or in the background of your desk , this outstanding painting with the hand carved wood gilt frame will be the touch of old world adding the charm history and elegance to your decore . This beautiful portrait of a gentleman is very versatile and can go with any design, rustic farm , elegant space , formal setting , modern or old world European charm . overall good shape, recanvassing so many of the wonderful Art In the prime of his career, Allori headed one of the "two most important workshops in Florence in the second half of the 16th century" (the other being headed by Santi di Tito...

We are delighted to offer for sale this lovely antique style pictorial silver leaf foil world map taken from and original engraving my Moses Pitt, 1681 This is a very interesting ...

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...

M. LAWRENCE - Vintage Tyrolean style folk art oil painting on plywood panel - untitled - finished sides and back - Christmas/winter theme - signed low...

Porcelain creation from the Ink collection, inspired by the age-old custom of drawing messages on the skin. This creation, handmade in glazed porcelain and decorated in black, red an...

Japanese Abstract Expressionist Serigraph, Signed & Numbered, (MASHIKO)

- 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. The desire to evo...

Egyptian Revival-style polychromed wall plaque featuring a costumed Egyptian figure.

- Handspun and handwoven wool, henna dye, oil paint, big size - 2022 - Unique piece - Framing by Laetitia Verchere - Edition of 10. Dimensions: 25.2 x 25.2 in // 64 x 64 cm.

A very decorative fertility mask by the Baule tribe, associated with the Akan people who live both in Ghana and in the Ivory Coast. The sides with three...

Solid maple shelving unit that hangs from wall. Item pictured is available and ready to ship. Hand selected premium hardwood finished in durable natural hard wax/ oil finish. The ver...

Finely Woven Antique Chinese Textile, Country of Origin: China, Circa Date: Late 19th Century

Contemporary (watercolor gouache) of an abstract Black and White design on paper (signed by ED ELLER)

Ceramic wall tile decoration with leaf print using sgraffito technique. Tiles can be custom made to fit any wall of space. Take tradition to evolve, transform, and innovate are all...

SET of 3 Italian Renaissance framed celestial lithographs featuring early beliefs of the solar system (PRICED AS SET) (Available individually...

An interesting charcoal portrait of Picasso from the year of his death, presumably on the day of his passing - a sort of framed obituary of the famous Catalan painter. There is inf...

Pair of English Nobel figural oil on canvas oval portraits of male posing with hunting canine companions and female sitting in garden posing with flowers and lamb. Paintings have bee...

Italian Neo-Classic Style (19th Century) Rust and Black Hand Colored Print 4 corner design in square black and gold trim frame (TABULA XX) (similar...

Original Mid Century Modern Acrylic Painting on stretched canvas in a brass trimmed wood frame. From Tampa artist Roberta Hardy, Titled Still L...

Silk and Metallic Threads Embroidered Tapestry in Black Wood Frame with Pearls Large Modern Decorative Art in Erotic Style Silk, Silver Metallic Threads, Mother of Pearl, Black woo...

Vintage Rare X-Large Railroad Train Station Metal Wall Sculpture Signed by Curtis Jere

Norwegian Modernist Masterpiece by Ragnar Kraugerud (1909–1987), c. 1930s This exceptional museum-quality painting by celebrated Norwegian artist Ragnar Kraugerud showcases his dist...

From a important 25 plus years collection of Male Physique and Beefcake Photography, Image # 8 of male model Barry Adkins. Printed in the 1960s and are all signed by the studio when Mr. Bruce Bellas aka Bruce of LA was alive. Beautifully, professionally framed. Double white mat and simple black frame. All orig photos are 8 x 10. Framed: 16.50" W x 19" H. Other images from this L.A gallery show on separate listings... please check often while we list more every week. These photographs are very hard to shoot under glass. They are sharp, clear photographs printed the old fashioned way, by hand in the late 50s and early 60s. BIO: Bruce Harry Bellas (July 7, 1909 – July 1974) was an American photographer. He was influential in his work with male physiques and nudes. Bellas was well known under the pseudonym Bruce of Los Angeles. History and influence: Bruce Harry Bellas was born in Alliance, Nebraska on July 7, 1909. He worked as a chemistry teacher there until 1947, when he began photographing bodybuilders in Los Angeles, California, beginning with taking pictures of bodybuilding competitions. In 1956, Bellas launched his own magazine, The Male Figure. Among physique photographers, Bellas' work was noted for having a distinctly campy, tongue-in-cheek sensibility. Bellas also produced a number of early homoerotic 8 mm films with titles such as Cowboy Washup and Big Gun for Hire. Bellas was known to travel around the country, finding new models to photograph and also personally delivering nude photographs to customers, since they were liable to be seized by postal inspectors if sent through the mail. An extensive archive of Bellas' nude male physique...

An E. Alvarado 1959 mosaic wall panel commissioned at the Taxco showroom of Los Castillo Plateros depicting the 1467 reconstruction of the temple of Huitzilopochtii after its damage ...

Japanese Abstract Expressionist Serigraph, Signed & Numbered, (MASHIKO)

Perfect for a signature wall or a complete room this fun wallpaper has done nothing but make us smile, encapsulating the personality of the man behind the brand. This marbled wallp...

A bronze color finished round wall sculpture by Curtis Jere Artisan House. Newer from the last 20 years or so. Metal with a bronze finish and spots of brass and silver color. Good ov...

Sina Dyks Contemporary Art Tapestry 175 x 255 cm Sina Dyks Contemporary Art Tapestry 'Builded System' 175 x 255 cm Established Dutch textile artist Sina Dyks (The Netherlands, 19...

Unique one of a kind custom tapestry designed and hand made by California master tapestry artist Helen Webber (American 1928-2019). The artist utilizes a collage technique combining...

Japanese Abstract Expressionist Serigraph, Signed & Numbered edition: 33/35, (MASHIKO)