Hand-Carved Decorative Art

Pair of circa 1950s English Montgolfier etchings with wood frames. Measurements: Height: 18.75" Width: 14.5" Depth: 1.5".

Our friend Mary has a ritual of picking a flower or small bunch from a garden each day and placing them in a small bottle vase, documenting each with a photograph and short note. We ...

Our friend Mary has a ritual of picking a flower or small bunch from a garden each day and placing them in a small bottle vase, documenting each with a photograph and short note. We ...

A fine unique wooden sculptural wall decoration. Hand Carved motifs, made by a Danish Cabinetmaker in the 1970s. Nice texture and dimensions in this vintage piece, it can be used as ...

The Italian 1950 plaster wall decoration of an African dancer is a beautiful and unique piece of art from the mid-20th century. The decoration is made f...

A white-green, vintage French still life oil on canvas painting by Michel De Saint-Alban in a hand crafted, original gilded wood frame, i...

Carvings with a military, musical, hunting, or agricultural theme, known as trophies, became popular during the period of Louis XVI. This pair of large trophy panels have Neoclassica...

Pair of carved gilt corner wall consoles or bracket shelves, Spain, 1930s. Finely carved pieces with foliage design and original gold leaf gilding. Beautiful patina. Great choice to ...

A gold, antique Swedish Gustavian rectangular wall mirror with its original mirror glass and blue color paint, made of handcrafted gilded Pinewood, in good condition. The wall decor ...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Antique hand carved walnut wall plaque fruits and vegetables, Germany, early 20th century. This absolutely gorgeous masterfully carved wall decoration from the early 20th century fe...

The Italian 1950 plaster wall decoration of an African dancer is a beautiful and unique piece of art from the mid-20th century. The decoration is made fro...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Giuseppe Pitto (Italian 1857 - 1928) is often known for his paintings depicting pretty women in Italian street markets. This exuberantly painted scene i...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

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...

Wood Framed Arts & Craft leather pyrography, carving, branding from the Cabeza Maya King of Palenque Art. Marked by Artist on the reverse. In good vintage condition with some minor...

A blue-brown, antique Swedish oil on canvas painting of a sunny day at the Piazza Barberini, in Rome, Italy painted by Gustaf Wilhelm Palm in a hand carved original gilded wooden fra...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Exceptional and unique, 3 feet tall, Gothic Revival wall barometer, circa 1890. This unique antique from the second half of the 19th century, in our view, is the dream of anyone with a Gothic (inspired) interior. This design could not be more Gothic and to have found a barometer of this size and with this many Gothic details, again, felt like a blessing. And even though we had to pay-up to be able to acquire it, when you find an antique that is this rare and good then you should always try to buy it. This monumental and solid nutwood antique barometer is entirely hand carved and, as you can see in our photos, the workmanship is second to none. This work of Gothic wall art is perfectly symmetrical and we love the fact that only the large church pilars are carved in a different pattern. This rare design feature, to us, shows the creative nature of its designer. We also love the many Gothic church spires on top and the way this entire 'composition' is superbly balanced. There also is small 'ledge' underneath the barometer and thermometer, possibly for displaying some small sculptures. The only downside would be that the inside of the barometer/thermometer is not squeaky clean. Maybe it is easy to open the front of the barometer, but we have no experience with that. Have you also noticed the amazingly detailed Gothic leafs at the top of both the large pilars? They too display the amazing workmanship of a seasoned craftsman. Besides the enormous height and width, what also makes this rare barometer truly impressive is its depth, because this almost gives you the idea of looking at a magnificent barometer through 3D glasses. All these top quality and impressive details together make this Gothic barometer...

Provenance: Italy, Florentine "Bottega" mid-19th Century Round Frame Hand Carved and gilded with pure gold leaves Dimensions: Outer diameter 122 cm - Inner diameter 82 cm - thickne...

A rare antique finely worked French barometer with lyre shaped crest thermometer above a large hexagonal framed barometer. The Parisian décor piece is m...

Hand-painted in Florence, Italy, this fantastic oval wooden wall panel features a large urn with a scrolled handle. The urn is adorned with a fluted...

A beautiful, vintage alabaster handmade plate, framed with glass and gilt wood. Measuring 11.75" wide, 1.63" deep and 10" high. Displayed in a period giltwood frame. Image size, 4 1/...

Found in the US. Unknown origin. Circa 1910 large hand carved and framed walnut panel. Very intricately rendered work featuring leaves, vines and flowers. This is heavy piece and is...

Mid-20th Century hand carved wood plaque of General MacArthur. Signed A.B. Deleourey 1856-1944 Boston, MA. Minor scratches. This can be seen at our 4...

Treason wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Like a crumpled up piece of paper, Treason embodies ...

A fine example of a mid-17th century steel halberd with pole arm, with a diamond shape thrusting point, axe blade with shallow concave cutting edge featuring ...

19th century oak hand carved framed armorial from England. The central design is of a shield with two wheat shafts, flanked by decorative scrolls, and topped with a regal standing li...

THE CROW OF THE COCK. Unique work and very decorative. Cock and Sun ceramic wall panel. Made by a R. MAREZ, French ceramist based in Vallauris ( South of France ). Amazi...

A Chinese Qing Dynasty period linden wood signboard with calligraphy with stunning age-related patina. The wood carved signboard showcases a pair of couple written by a younger juni...

Highly stylish and marvelous design Art Deco wall barometer. This stylish antique from the early 1900s is a dream of anyone with an Art Deco (inspired) interior. This design could...

A light-brown, vintage Mid-Century Modern Italian wall mirror with its original mirror glass, enhanced by brass nailheads, designed by Paolo Buffa in good condition. The backside of ...

Italian antique frieze in hand-carved wood and gilded gold leaf. Very rare. (See my published ancient friezes). You can hang it on the headboard, on a...

Italian frieze in hand-carved wood and gilded gold-leaf. Made by a good craftsman who carved it by hand, copying from an ancient frieze. (See all my p...

Decorate a music room, den or office with this elegant and colorful antique wall mounted lyre. Crafted in Italy circa 1780, the large Classical Roman musical instrument featured two ...

Large plato shelf by Antrei Hartikainen Materials: maple, natural oil mix Dimensions: W 75, D 10, H 3,5 cm Also available: different sizes. The surface of the moon is the in...

Wax relief depicting a vase with flowers Italy, mid-19th century Signed "Scot. inv et fecit" Measures: 37 x 44 x 7,5 cm.  

Small plato shelf by Antrei Hartikainen Materials: Maple, Natural oil mix Dimensions: W 60, D 10, H 3,5 cm Also Available: different sizes. The surface of the moon is the ins...

Nerone & Patuzzi inspired; Nioi; Craftsman; Italy; Art; Wall Piece; Wall Panel; Hand-Crafted; Hand-Carved; Giovanni Ceccarelli; Luigi Marchisotti; Nioi Hand-Carved Wall Panel in t...

Rare wooden antique garland from the beautiful Val Gardena, authentic '700 period - May be an overdoor , over mirror or over a padded headboard. M/1523.

Napoleon III style, sometimes referred to as The Second Empire style, was greatly influenced by the Neoclassical aspects of the Louis XVI period. This giltwood barometer from Paris w...

Richard Durando-Togo is a painter of Argentine origin who spent most of his life in Italy and France, in the latter country he settled permanently in 1934. He is a self-taught artist...

18th Century Spanish Decorative Finial Carved in Wood

18th Century Spanish Decorative Finial Carved in Wood in the Shape of a Plant

Decorate a office or study with this antique wood stamp stencil block. Created in France circa 1760, the decorative floral pattern stencil was used for printing fabric and wall paper...

The ECUME decorative panels have been created as a wall composition of nine elements. Three chiseled solid silver plates and six blue linoleum pane...

Chinese Ming dragon, wall decoration/supraporte, gilded wood Solid wood, hand carved and gilded. Wall decoration, 20th century.

Traditional South African Zulu shields date back to King Shaka Zulu and have been used by tribesman in battle for hundred of years. These shields are no l...

A wonderful collection of early 20th century carved bone fishing hooks and misc fishing gear in a wood frame. Front the Northwest coast of the United Stat...

This colorful, antique Majolica fruit plate was sculpted in France, circa 1890. The large, circular platter features four hand painted green and ...

Rare antique carved wood reproduction of a clay relief sculpture by Harry Bates, depicting the Greek poet Homer, playing the lyre for two Muses. “The famed...

Amaizing woman Material: wood Country: France We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your dis...

English fairground panel We share what we love, and we love this very well carved turn off the century fairground rounders panel/frieze, depicting a...

Art panel hand carved by Nioi, Italy, 1974 in the Style of Nerone & Patuzzi Artwork, carved wall panel, assemblage, Nioi, Italy 1974. Masterpiece hand-carved panel, part of a s...

Wonderful pair of fan shaped late 18th century American Federal period lintels or over doors with exquisitely detailed carving. The distressed painted surface adds a lot of character...

Giltwood Framed Limoges Enamel after François Boucher 'The Bird Catchers' France, Circa 1880s Framed in an elaborate hand carved pierced and giltwood t...

Perfect running and striking, late 1800s, partially ebonized antique wall clock. If you are looking for a stylish and stately wall clock then this tall antique specimen could be gracing the wall of your home or office space soon. All handcrafted in the late 1800s this work of time telling art is not only very beautiful, it is also guaranteed to be of a quality that you don't find anymore in this day and age. Both the clock case and movement (including the enameled dial face and pendulum) are of exceptional quality and beauty. The striking white and exceptionally clean, enameled dial face comes with perfectly contrasting black numerals which makes telling time from a distance easy as well. The original hands of this clock are of the kind of elegance that you would expect from a Victorian era clock. The beautiful antique movement is serviced and in perfect working order. The brass and equally gorgeous, enameled pendulum is another gracious feature that moves perfectly back and forth behind the original glass panel in the door. The eight day mechanism comes with the original key for winding it and she strikes the whole hours and once on the half hours. Have you also noticed the ebonized goddess sculpture on top, she is like the icing on the cake of this stately clock that will never fail to impress. If you like this great looking and perfect working antique clock...