Wood Decorative Objects

We are very pleased to offer this Maitland-Smith turtle shell box, circa 1970s, a sculptural and quietly luxurious accent piece elevated on an elegant metal stand. Crafted with a ric...

A German cigar humidor box carved in oak wood. This is a fabulous oversized black forest humidor box created in northern Europe, most probably in Germany or Switzerland, back in the...

A museum-quality Arts & Crafts folk art chandelier, conceived and handcrafted in southern Germany in the early years of the 20th century. This exceptional sculptural pendant transcen...

Wonderful uncommon 1950s design from Denmark of an arctic polar bear. Ink stamped, with remnants of paper label. Unknown artist.

Rare and Important Oval Serving Tray by Johan Rohde, Mahogany and Silver, Denmark, ca. 1910 Dish of oval form in mahogany, the surface inlaid with a central silver laurel wreath, th...

A special chess set in solid, hand-patinated brass and walnut. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can truly be customized an...

A gorgeous decorative 20th century hand-carved bowl crafted in a Neoclassical Greco-Roman style out of radiant African Bubinga rosewood, and walnut by artist Gene Short. The distinct...

An ancient Indian cart wheel mounted on custom black lacquered base, with brown patina. This ancient Indian cart wheel, mounted on a custom black lacquered base, is a stunning artifa...

A fantastic 19th century American carved walnut tray with sloped sides, and a wonderful patina only one hundred years of age can bestow. Perfect for use on your dining table, holding...

Internal Music Box Playing Two Aires From our Writing Box collection, we are delighted to bring to the market this exceptional French Palais Royal Musical Writing Box. The Writing ...

A fine 19th century French Napoleon III marquetry jardinière, or cache pot, made with inlaid veneers of burled walnut with mother of pearl inlay and ebonized trim. Bronze mounted wit...

Biomorphic Carved Wood Sculpture in the style of Isamu Noguchi, Unseen Force 23 by Joel Escalona This monolithic sculpture, designed by the talented Artist Joel Escalona, is a towe...

19th Century English Chinoiserie Tea Caddy with Dual Interior Canisters A 19th century English chinoiserie tea caddy of faceted octagonal form, raised on carved paw feet and decorat...

Micro Mosaic Persian Islamic Moorish Inlaid Jewelry Pen Box. 1950s Middle Eastern Moorish Inlaid Jewelry Trinket Mosaic Box. Handcrafted mar...

A rare and unusual French Directoire/ Empire clock depicting Napoleon standing among trophies of war including cannon, cannon balls, map scrolls and standards bearing eagles. The sil...

This trio presents traditional Ewe carved wooden figures, originating from the Ghana/Togo region of West Africa. Each figure embodies the distinctive aesthetic of Ewe sculpture, char...

Polished white bird's-eye maple armored armoire with leather bow, 24-karat gold-plated accessories. Round handle with biometric opening device and emergency key integrated. Inside pullout / pull-out necklace holder and drawers lined for jewelry. Leather handles on drawers. Secret compartment. Available...

Edwardian Mahogany Planter Inset With Fruit Wood and Decorate with Spindle Railing

This amazing 19thc original white painted basket over a mustard painted surface is in great form with minor breaks in the bottom corners.Very unusual form and surface.

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

Just in, this wonderful hand crafted Wood Pear Box by Maitland Smith. Large as it stands at about 15" H. Beautiful walnut color wood with a gilt metal stem. Very good vintage conditi...

An elegant Art Deco solid silver cigar box of shaped rectangular form, the hinged lid finely decorated with a striking engine-turned geometric design characteristic of the period. Th...

A beautiful 1940s solid silver photo frame found in Torino. The frame has an especially thick border and solid wood stand and back.

A beautifully hand-carved turtle sculpture, thoughtfully executed with clean, modern lines and a minimalist aesthetic. Rather than relying on intricate detail, the artist has capture...

This exceptional oversized wooden puzzle sculpture features an intricate geometric structure of interlocking spheres and rods, forming a striking polyhedral design. Both a puzzle and...

A good sized elegant plain photograph frame made from solid English sterling silver and backed with solid Oak. Always very popular, this frame comes with a two-way folding easel sta...

Beautiful giltwood angelhead fragment Italy, circa 1750 Weathered. Measurement here below inclusive the wooden base. H:20,5cm W:10,5cm D:10cm

Elegant dark wood walking stick with an bull bone handle carved in the shape of a dog's head, a greyhound or borzoi plus a cord to secure it to the wrist. It has a slender, elongate...

A stunning polychrome figure of a Saint from the late 18th century or early 19th century, from France. This is one of the most beautifully carved Saints we have ever featured, with t...

A small burl wood bowl designed and produced in Sweden, c. 1960s.

Innovating with its small and simple models Nomon brings the Pisa T Clock to be placed on desktops or corner desks. The slim needle shape of this foot clock...

Dating from the late Meiji to Taisho period, circa 1900–1920, this Japanese antique low stand is crafted entirely from solid keyaki (zelkova), featuring a thick single-board top and ...

George III solid burr yew wood box with original spurred carrying handle and standing on bracket feet, the interior with three dividers and lined with original marbleized paper.

Georgian Style Burton-Ching burl Walnut Regency Tea Caddy

A hand-carved freeform bowl designed and produced in the US, c. 1950s. Wear consistent with age and use Overall Dimensions (inches): 3.75"H x 11.5"W x 6.0"D All items ship from Hi...

A finely crafted travel desk by a noted British maker of boxes. The campaign style box has shaped brass corners, tabs, a lid plaque, center front escutcheon, and classic encased side...

Vintage Middle Eastern Khatam Art Painting Miniature on hexagonal shape trinket box. Hand painted, lacquered wooden Moorish micro mosaic marquetry inlaid tobacco or trinket Box. Handcrafted vintage marquetry Indo Persian wood inlay micro mosaic with miniature hand painted scene. Finely handcrafted khatam Persian hand painted micro mosaic inlaid wooden box...

A finely crafted mid-century modern valet or desktop storage box executed in contrasting mixed hardwoods, likely teak with lighter maple or birch accents. The box features clean Scan...

Walnut and Copper Wall Clock C.1920. The clock is in practically mint original condition, has been fully serviced and tested and is in perfect working condition. The clock runs on ...

20th Century Japanese Black Lacquer Box with Gold Bird and Reed Motif, Decorative & Functional Description: This elegant Japanese lacquer box, crafted in the 20th century, is a beautiful example of refined traditional craftsmanship. Coated in deep black lacquer, the box is adorned with delicate gold-painted branch and bird motifs, evoking a sense of serenity and natural harmony. The fine, meticulous brushwork captures the lightness of the reeds and the poised elegance of the bird, offering a peaceful and contemplative decorative piece. The removable lid reveals an interior decorated with two gold medallions, each threaded with a golden ribbon, adding an extra touch of subtle luxury and detail. Key features include: Authentic Japanese Craftsmanship: This box reflects traditional Japanese lacquerware techniques, emphasizing delicacy, patience, and respect for nature. Elegant Black and Gold Color Palette: The deep black base contrasts beautifully with the fine gold detailing, creating a sophisticated and timeless aesthetic. Nature-Inspired Motif: The scene of golden reeds and a resting bird embodies calmness, elegance, and a connection to the natural world, key themes in Japanese art. Decorative Interior: Inside, two gold medallions with threaded ribbons enhance the box’s refined, ceremonial feel, offering a hidden layer of beauty. Functional and Decorative: Perfect for use as a decorative object, a jewelry box, a keepsake container, or a small personal storage piece. Versatile Placement: Its understated luxury allows it to fit effortlessly into minimalist, traditional, wabi-sabi, or eclectic interiors. This 20th-century Japanese black lacquer box is more than a container—it’s a poetic celebration of craftsmanship, nature, and subtle beauty, offering both functional use and decorative sophistication. Keywords: Japanese black lacquer box, gold painted bird and reed motif, 20th-century Japanese decor, traditional lacquerware, serene Japanese art box, nature-themed lacquer container...

Antique Wabi Sabi Style Ball in Carved Wood. Beautiful hand carved sabi sabi style decorative ball in solid wood. Wonderful tactile hand carved surface - great decorative piece on a...

Pair of 18th Century German Baroque Carved Wooden Angel Sculptures. Each cherubic angel is depicted in dynamic, flowing motion with beautifully detailed features and in the original ...

“Being and non-being create each other. Difficult and easy support each other.” The Tao by Michael Alfano. Yin Yang is a Chinese philosophical concept that describes opposite but in...

Delicate rust-toned preservation highlights the ancient form of this Pycnodontiformes fish against a soft cream matrix, creating a striking natural contrast. Expertly prepared, the s...

Antique Swedish Mora clock from the 1800's. Original paint; grey with gold detailing. Not function tested. Measures: Width:58cm / 22.8" Depth: 20cm / 7.8" Height: 215cm / 84.6".

The initial inspiration for the elemental top collection by Alvaro Uribe for Wooda was wooda’s iconic logo of a tree. We felt it captured the company’s synergy for working with wood ...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

Designer: Lebar Manufacturer: Lebar. Materials: Driftwood, Walnut Wood   

Contemporary style floor clock designed by Shigeru Uchida in 1989. This clock was designed for Hotel Il Palazzo situated in Fukuoka, Japan. Later, Italian manufacture Acerbis / Morph...

An exceptionally rare antique German Renaissance carving by Stephan Rottaler (1581-1533), Bavaria circa 1500. The carving is by Stephan Rottaler, Landshut, Germany, an architect who ...

Sculptural Brazilian rocking chair in the style of Joaquim Tenriero. Amazing quality and design. Original cane seat in need of restoration. (see photo). Hand delivery avail to New Yo...


This mid-century abstract sculpture was handcrafted from solid pine in 1970. The piece presents a tall, columnar silhouette carved with fluid, organic contours that introduces natur...

Antique Gilt Carved Eagle Lectern – Ornate Gothic Church Stand c.19th Century Origin: Kasteel Aldenghoor, Haelen, Netherlands 19th Century Gothic Re...

Decorative Freeform Walnut "Art" Vessel by Emil Milan, circa 1960's "beautiful color and wood grain" "in good vintage condition" "oiled with food grade mineral oil" See last images...

17th century Italian hand-carved and gilded crown bejeweled with rutile quartz crystals and baroque pearls. It is mounted on a coordinating gilded fragment with a metal crown base th...

A scarcely seen trio of mid‑century entomological teaching aids. Czech, c.1960. Cast in resin and mounted on ebonised wooden blocks, each specimen sits within a finely modelled fore...

Abstract Modernist Free Form Wooden Sculpture in the style of Jean Arp, Unseen Force 12 by Joel Escalona This monolithic sculptur...

A female fertility statue of West African Senufo (Mali, or Ivory Coast) origin in solid wood. Hand-carved from a single piece of Mango wood, this expr...

Mid to Early 1900's set of 5 wooden geometric molds. Great modular accessories. 12"h x 6"w. Sphere is 7"diameter.

Turned vessel in Boxelder burl by Utah artist Lane Phillips USA 1994 Hollow form round bowl with contrasting ebonized collar Signed and dated to underside 7 inch diameter 5 inch h...