Wood Decorative Objects

Very nice black forest bear. Hand carved 1920s. Good condition.

Sweet little Black Forest carving of a stag standing near a pine tree next to a brass lined nut or candy dish. Some writing bottom front in white is too worn for me to make out, prob...

A stately late 18th century Belgian, Liege, tall case clock case having a period Black Forest clock workings with wooden enameled dial and hand-painted fruit decoration, the original...

Chinese Scrib, but handcrafted in Thailand. Sixteen feet long. Rosewood base. The sculptors of this enormous boat made of jade. You will admire the details of this vessel. The dragon is the ultimate symbol of auspiciousness. It is the most important symbol in both Feng Shui and in Chinese folklore. It's most powerful when displayed in the east sector of your home, office or location of the piece. This dragon jade boat...

Finishing options for Alessandra Delgado Design products. Choose the samples you want for finishing the product, and check with the store for the cost of sending the chosen samples....

Antique Walnut Wall Clock, having a quality carved walnut case with original turned finials, reeded columns and solid walnut carvings and gla...

18th Century Carved Giltwood & Gesso Coat of Arms with Eagle – Rare Decorative Crest on Metal Stand A stunning and rare 18th-century carved giltwood and gesso coat of arms, this exce...

Cast Iron Tang Horse Sculptures in Aged Verdigris over Brass, on Plinths (Pair Available but priced per each) Striking vintage Tang-style horse sculpturescrafted in cast iron and cl...

A wonderful, well-crafted work reminiscent of Isamu Noguchi's early work in bronze. Heavy and solid on a beautiful rosewood base. Apparently unsigned. From a collection of Japanese antiques and...

Friendly and fun clocks ideal as a gift to decorate the living room, kitchen or a modern office. Nene table clock with body and hands in oak or walnut wood and graphite lacquered. N...

Antique Children Carousel Horse, Germany late 19th Century A wooden carved children's carousel, stallion with polychrome painting, made in Germany in the late 19th century. Original...

A massive late 19th century American oak splint basket with a double-banded rim and likely used for storing wool in a barn. We've been collecting basket for years, and we've never se...

Howard Miller Cameron 610-185 Grandfather Clock This floor clock features glass panels on three sides of the case, an urn finial, and the polished brass pendulum. The case locks wit...

19th Century Spanish Baroque Style Frame Solid wood carved frame, applied with gilt mouldings. The ebonized border is decorated with gilt foliate scrolls. The frame is covered in ve...

Mid 19th century Mahogany wood / glass case grande Sonnerie three weight Vienna Regulator clock. The wall clock features a rosewood veneer with ...

A hand-painted wood bowl produced in Sweden, 19th century.

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...

Exceptionally elegant late 19th Century studio easel, Neoclassical with early Amsterdam School influences This rare and elegant late 19th century artist’s easel is an outstanding ex...

Very nice saint figure. Hand carved wood with glass eyes Italy, circa 1800-1850. Weathered, small losses.

Peach basket. Vintage American large woven peach of very sturdy construction in a soft peach brown tone. United States, 1920’s. Dimensions: 26" L x 17" W...

“Still Stand” sculptures by Joel Escalona Joel Escalona's wooden standing sculptures are objects of raw beauty and serene grace. Each one is a testament to the power of the material...

Silver leaf wood bowl of a clamshell.

Highly Carved German 3 Weight Grand Sonnerie Quarter Strike Vienna Regulator Wall Clock Here is an excellent 3 weight driven regulator wall clock. This clock is 52-1/4" tall and 17-3/8" wide. It features a solid brass movement and chimes every 15 minutes, which are driven by three engraved weights. This clock has Grand Sonnerie striking...

A stunning and rather large abstract sculpture in dark green stone in the manner of Henry Moore. Beautiful organic lines throughout that have been masterfully carved out of a deep ja...

Book Ends Wooden style acrylic Sculptures A Set Of 2 Decorative Figurines of Human Book Holder Beautifully stylized a set of figurines with a great ba...

A teak toy or animal sculpture designed by Kay Bojesen, Denmark, 1950s. Dimensions variable, measured as illustrated in first image.

A lovely and rare Spanish colonial statue of a madonna or female saint in carved and polychromed wood with movable arms and hands. Philippines, circa 1700s. In her time and within th...

Lull No59 Decorative Object – Modern Wooden Sculpture by NONO for Interior Design ——— Balance and tension are at the core of these sculptures. The interplay between the smooth, roun...

Antique dark birds eye maple writing slope with brass M monogram plate on top with green felt lining and multiple interior storage compartments finishe...

A beautifully crafted Chinese export tea caddy made of wood with black lacquer, richly adorned with gilded motifs featuring classical Chinese scenes of people, houses, and more. The ...

A fine vintage Spanish table or glove box. In .915 fine (plata de ley) solid silver. The wooden box with a silver lid with an enameled Moderist depiction of a recumbent woman with ...

19th Century English Silvered Metal 'Worried Knight' Inkwell Add a touch of classical whimsy to your home or office with our tole figural knight inkwell. Made in later 19th century ...

Lovely Georgian giltwood picture frame Carved pine with shallow gesso and gilt Original patina Internally or sight measures 19.25 x 24 inches. 48.5 x 61 cm Free UK shipping

3-983 Japanese owl hand carved rosewood sculpture.

Vintage Empire Art Products (USA, 1963) Atomic Era Mid Century Modern Wall Clock Set with Blue Accents - 3 Pc Set. Circa Mid 20th Century...

The Oval Queen by Patrick Coard Paris, shown here in its black oak veneer inlaid on a fiberglass core, exudes an understated elegance that brings a sense of depth and warmth to its m...

This exquisite picture frame by Kifu Paris is a true embodiment of modern elegance and craftsmanship. Handcrafted from rich black oak, the frame exudes a refined and timeless allure,...

Carved blackened wood horned antelope - human mask Dan People Ivory Coast, Africa. Two vertical horns probably representing a young antelope, large open round eyes and projecting li...

This antique Chinese red lacquer document box, dating to the late Qing dynasty (19th to early 20th century), exudes timeless elegance and functionality. Crafted from softwood, the bo...

Fabulous bass Cello storage cabinet. Has 4 shelves that are 5 x 5 x 10.5. Door opens and closes with ease. Well made, high quality. In excellent vintage con...

A carved and polychromed tonsured saint figure, 18th century. Glass eyes and formerly with articulating arms. 10 ¼ inches wide by 6 ½ inches deep by 16 ½ inches tall

Beautiful small hand carved Baroque angel fragment. Unique period piece with traces of its old color . Italy, circa 1750 Weathered. Several small losses. Measurement here below inc...

Charming, late 19th century jewelry box from the period in Austria around 1890. This real beautiful designed ebonized wooden box impresses with its extraordinary inlay works showing ...

Porcelain of Capodimonte 1970s years Donna Vamp , totally handcrafted by skilled and skilled hands that have now disappeared, also painted by hand, with 24-karat pure gold dress, sig...

Mid 18th century walnut wood framed German 8-Day Grandfather clock. The tall case clock featured a dark walnut case with flared base, hood with half-columns and turned finials. Iron ...

A MCM ash wood moose / reindeer sculpture by Kaija Aarikka of Finland, circa 1970s. The sculpture is in very good vintage condition, measures 2.75"W...

Vintage Chinese style fisherman or grain basket features the traditional shape with rounded sides and wooden rim and handles. The strong, flexible wicker or willow strips are skillfully woven into a delicate pattern that emphasizes the rounded form of the basket; prominent solid wood elements juxtapose the fine texture of the weave. The basket is in good vintage condition with beautiful, age-appropriate patina on wood; its convenient size and shape allow it to be used as decorative storage piece, large ikebana basket...

Jim Rose, known primarily for his steel furniture, was an avid collector and scoured salvage yards for unique, interesting items. Here, a beautifully rusted tobacco box, a steel egg...

Freeform abstract wooden sculpture, hand-carved forms that are connected via dowels and mounted on a black wooden base. Each element of the sculpture relate to one another to create ...

Vintage organic natural coconut wood condiment set complete with tray and spoon. Set of vintage coconut wood salt & pepper bowls on stand, petite lidded bowls with spoon. These handc...

Vintage Italian large footed music box in light gold color with top finely hand painted and wood inlaid with foliages floral decor, brass hardware. Small Vintage Italian handcrafted ...

Anthroposophical Dornach Candlestick Rudolf Steiner attr, circa 1935

1 Arthur Umanoff Bowl, more Umanoff pieces available.

In the 19th century, parabolic reflectors such as these were employed in scientific experiments to study the behavior of light, heat, and sound. These brass parabolic mirrors, when p...

Antique Coromandel and Brass Bound Campaign Humidor. The cigars depicted are for illustrative purposes only.

“Still Stand” sculptures by Joel Escalona Joel Escalona's wooden standing sculptures are objects of raw beauty and serene grace. Each one is a testament to the power of the material...

Based on his world re known piece the "Hand Chair", this large artistic hand sculpture also highlights the palm and fingers. Rich and detailed with great patina, this piece is in ver...

A Far Eastern shoulder yoke from the early 20th century, with rattan and bamboo baskets. Charming us with its history and nicely weathered appearance, this Far Eastern shoulder yoke ...

A finely carved 19th-century Black Forest walnut jewelry casket, attributed to the Brienz region of Switzerland, distinguished by its lavishly naturalistic ornamentation and sculptural detailing. The exterior is deeply carved with flowing rocaille motifs and a profusion of flowers and foliage in high relief, including a central rose in full bloom beneath the keyhole escutcheon. The lid is crowned with an exceptionally crisp and dimensional bouquet featuring a central rose surrounded by rosebuds and smaller blossoms arranged upon a scalloped bed...

Vintage Scandinavian filing cabinet made from solid oak with a dark patina. It's most likely made in the early 20th century, ca 1920s. A ...