Wood Decorative Objects

A super matching pair of oak open twist candlesticks. Good condition. Lovely colour. The cast brass sconces are original. Free UK shipping

This is a very good and complete board game of Marble Solitaire, with a hand turned hardwood board and 33 agate stone marbles, which we date to the Art Deco period of the 20th Centur...

Rare and nice quality carved sitting bear bookstands. These hand-carved bears with their curiously looking eyes are beautiful in both shape and color and they are a joy to own and ...

A fine petrified wood specimen. Perfect for use on the bar or table as a trivet. An old collector's record indicates that it is a species of cherry from Mcdermitt, Oregon. ...

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

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...

Outstanding quality antique George III oak and burr oak brass face longcase clock by William Frening, Suning having an outstanding quality case with a long door, turned columns to ...

French Louis XVI tall case clock, c1800. They also are referred to as “St Nicolas-Clock” because they were made around the village Saint Nicolas d'Aliermont in Normandy. The oak case...

PRESENTING A GORGEOUS 19C Gustav Becker Vienna Wall Clock. Made by the famous clockmaker, Gustav Becker circa 1880 in Germany. Th...

Beautiful Diamond Clock designed by George Nelson & Associates, and manufactured by Vitra. In excellent working condition, working on an AA battery. The George Nelson Diamond Clock ...

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

Vintage wooden storage box made of root wood veneer, the box has black wooden inlay and hazelnut decoration in relief, first half of the 20th century. Decorative object made of high...

PAIR Set Antique English Oak OPEN Barley Twist Candlesticks Candle Holder Brass Bobeche. Direct from England, a stunning pair of antique English oak barley twist candlesticks! These...

Combining tradition and modern design to provide an unmistakable flair of luxury and elegance. Our glasses box has a wood base and enough space to store up to eight pairs of glass...

Refined and sensual small accessories for the desk or vanity have been loved and enjoyed by collectors or aesthetes for many centuries. Examples of beautiful, delicate workmanship ca...

Vintage lot of 13 rare and high quality kokeshi dolls, authentic kokeshi made in Japan in the Showa period, circa 1950s to 1970s. This lot concerns 13 extremely beautiful kokeshi do...

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...

Water flowing over rocks creates a contrast between the sparkle of the water and the relative opacity of the rocks. In these boxes black lacquer pours over natural shells that glow a...

1970s Vintage Reuge Wood Music Box Italian inlaid marquetry jewelry box. Elegant footed music box crafted fruitwood. Glossy Enamel Finish. Red velvet...

French 1920’s hand made glass blue perfume bottle. Decorative hand blown large glass bottle,  original paper label perfumeria ballester. Original stopper also present. Good quality...

Early 20th century Scandinavian pokerwork tine box circa 1904. Beautiful quality small Norwegian pokerwork tine box.  Stunning desktop item, with carved dragons to the sides and aro...

Original child figure mannequin on a wooden fully adjustable stand in a very good original condition, France, 19th century. Beautiful children's mode...

Antique Victorian quality figured walnut sewing box having a brass handle to the lift up top opening to reveal a fitted interior, drop down front opening to reveal a storage drawer ...

A very fine Spanish Colonial statue of a male saint in carved and polychromed wood. The saint's face has a beatific expression and the eyes are made of gl...

Love this set of Three Vikings . all original from the sixties . One slightly bigger . All complete with there armory . Very scary . Handmade .

Very rare French mid century box with a lid by Alexandre Noll produced in France 1950s. In good original condition and signed by the artist. Dimensions: H: 6,5 cm / 12.55" W: 14 cm...

Made using a manufacturing process utilized for railways, medical devices, and electronics, the Fin Trivets bring an Industrial touch to your tabletop....

Country long case clock in rococo style from northern Sweden. This clock is a genuine antique from around the 1820s. The carved wooden decor is original and the paint is also origina...

This exquisite antique mantel clock, crafted by the renowned Ansonia Clock Company in the 1800s, is a timeless piece of history and elegance. The clock features a beautifully carved ...

The Reinassance is inspired by the Maple Tree. The artisan always takes inspiration from nature and natural events. The materials are wood and metals, representing both the streng...

Elegant basket bowl with handle framed by brass , made in Italy in the 1970s.

Original Gustav Dentzel middle row "jumper" carousel horse w/cast iron stand Original to a Germantown PA park, and purchased by George and Leo Whitney, for Whitney's the Beach, San Francisco CA. Jumper appears to retain remnants of the original paint, with a very old overcoat, mounted to a vintage presentation stand, overall 58" H x 52" W. Stand measures 21" H x 37" W. Provenance: Purchased directly from the Whitney's at the Beach Collection, San Francisco, CA From Wikipedia: “The area that was Playland began as a 19th-century squatter’s settlement, “Mooneysville-by-the-Sea.” By 1884, a steam railroad was in place to bring people to the first amusement ride at the City’s ocean side — a “Gravity Railroad” roller coaster, and to the Ocean Beach Pavilion for concerts and dancing. By 1890, trolley lines reached Ocean Beach — the Ferries and Cliff House Railroad, the Park & Ocean Railroad, and the Sutro Railroad — that encouraged commercial amusement development as a trolley park. The Cliff House, which opened in 1863, and Sutro Baths, which opened in 1896, drew thousands of visitors. The rides and attractions that began to spring up along the beach were separately owned by various concessionaires. For example, John Friedle owned a shooting gallery and baseball-throwing concession. All of the rides at Chutes at the Beach were purchased new or built there, including the Shoot-the-Chutes, which inspired the first official name for the amusement area — Chutes at the Beach. Around 1913, Arthur Looff leased a piece of land for a carousel and its house — the Looff Hippodrome, located next to John Friedle’s concessions. Friedle and Looff become partners in Looff’s Hippodrome and began to buy other concessions to realize their vision of creating “the grandest amusement park on the Pacific coast. In 1926, George Whitney became general manager of the growing complex of seaside attractions and changed the name to Playland-at-the-Beach, also sometimes known as Whitney’s at the Beach. Although the attractions continued to be operated as independent concessionaires, during the late 1920s and 1930s, especially during the Depression when concessions began to fail, George and Leo (Whitney) began to purchase the attractions outright. The Whitneys bought the roller coaster in 1936 and the merry-go-round in 1942. Playland took up three city blocks and, in 1934, the Midway had 14 rides, 25 concessions, and 4 restaurants. Despite this expansion, the post-war years saw the tearing down of the Shoot the Chutes in 1950 and the Big Dipper in 1955, and after George Whitney died in 1958, Playland was never quite the same. For a while after George Whitney’s death, Playland was operated by his son, George K...

A scaled version of our Aperture 4 chandelier, this fixture was build for grand spaces. Four large glass domes encircle a 4-globe geometric light source to ...

Italian vintage Lamborghini oak wood rowing machine.Rowing machine is in good vintage condition . Previously we have one in our office on the wall.

Vintage English hand-carved box in the form of a Yorkshire Terrier. This box just grabs your heart and squeezes it with the fluffy coat of fur and the sweet expression. This piece ...

An superb and elegant Vintage Karelian Birch humidor with fitted interior by the renowned manufacturer Savinelli, retailed by the legendary retailer Harrods, mid 20th century in date...

Antique French Wall Shelf Corbel Carved Eagle Black Forest Statue Wood c1880. Direct from France, a stunning antique French solid wood corbe...

Vintage French jewellery containers with decorative ceramic lids by Mithé Espelt (circa 1970s). Flower and Bird motifs decorate these five delightful, diminutive wooden boxes. Two of the ceramic lids have golden craqueleur boundaries encircling the inner decoration. The containers would be an attractive grouping on the surface of a vanity or dressing table. Alternatively, they might simply be suitable as a splendid decorative display in the home. The pieces are in good overall condition with some minor natural differences in the colour of the woods. The overall charm is undeniable and they are real collector's items. Please enjoy the many photos accompanying the listing. Upon request, a video will be provided. About the artist: Born in 1923 in Lunel, in the South of France, Mithé Espelt grew up in a family of affluent winegrowers and was very close to her grandfather who passed on his love for the arts and brought her into contact with major intellectuals and artists of the time. She rubbed shoulders with Jean Hugo, Jean Cocteau, Pablo Picasso, Christian Bérard and many others. She graduated from the Beaux-Arts school in Montpellier in 1942, and then studied at the Fontcarrade school where she took a special interest in ceramics. She began by designing buttons for fashion houses in Paris, before managing the entire production of buttons and jewellery at the Lydia Chartier workshop and collaborating with Line Vautrin, amongst others. At the end of the war, she returned to her native south, opened her studio and took advantage of the growing excitement around ceramics, particularly those from the town of Vallauris. To stand out and sustain the workshop business, she started designing gilded jewellery...

Genuine Swedish long case clock from Hälsingland. The clock is genuine and honest with a traditionally hand-made case with a rococo shape. Made in Swedish pine with the original blue...

The "Victoria" Box Set by Kifu Paris in white oak exudes a serene, organic luxury. The natural texture of the white oak offers a soft, refined aesthetic that brings warmth and sophis...

Grand Regulator World's Fair Clock François Linke Circa 1900 Widely regarded as the greatest sculptural clock ever created, this monumental régulateur by François Linke was conceived as a statement for the 1900 Paris Universal Exposition, a moment when the world’s finest artisans competed on an international stage. Linke, the most celebrated ébéniste of the Belle Époque, was awarded the prestigious gold medal for his display, which critics described as “the biggest event in the history of furnishing art in the year 1900.” Designed in collaboration with the sculptor Léon Messagé, the clock exemplifies Linke’s ambition to elevate furniture and timepieces to the realm of fine art. The clock represents over a decade of design and craftsmanship. Only six examples of this model were ever completed due to the extraordinary labor and cost involved. Building just one had a production cost of 22,966 francs, the equivalent of approximately eight years' wages for the average French worker in 1900. The clock is illustrated on the spine of Christopher Payne’s definitive monograph on Linke. Mahdi Al-Tajir, one of the world’s most important collectors, later acquired the present model. Another is located at Whitehall, the Flagler Museum in Palm Beach. It was acquired by Rockefeller’s partner, Henry Flagler...

This refined Art Deco decorative cookie box or candy jar, with a serving bowl insert, was crafted in France in the 1930s. Its modernist design boasts a chromed metal and wood holder ...

Salvator Rosa last 17th century giltwood frame. Internal measurements cm 24 x 32.5 Pure example of Italian Salvator Rosa gild wood frame of 17th century. "Salvator Rosa" is the famo...

Articulated Puzzle Pal Alligator sculpture by California Artist and Craftsman Dean Santner circa 1970s Six piece stack laminate puzzle formed alligator with raised eyes and leathe...

A French Animalia Glove Box, 19th Century Provenance: Private Australian Collection. Description: The ovoid wooden box covered in gold coloured velvet with a gilt spelter bamboo mo...

Evocative handmade metal torso, patinated to a rich green-black with mottled copper and verdigris undertones. Mounted on a hand-carved wooden plinth, its asymmetry and texture make i...

Quality antique Victorian walnut Vienna wall clock, having a quality walnut case with fantastic carved columns, the original turned finials to the top and bottom, a single glazed doo...

This is an antique wooden netsuke made in Japan around Showa period 1980s. The signature is written on the back side 'Ishikawa'. Netsuke is a miniature sculpture, originating in 17t...

Victorian era Anglo-Indian ashtray or vide poche in ebony.

The Aperture series was created to provide a beautiful quality of light by combining bounce and ambient glow. The light source is held in a hand-spun perforated brass dome on one sid...

19th Century Swedish Folk Art Bentwood Box from Hälsingland, Northern Sweden. Oval box with lid. Originalpainted with nice patina after several hundred years of use. Beautifully pain...

Our calligraphy brush stands are made of solid wenge wood, a prized, sustainable, exotic wood with beautiful grains. Top of the stands are deco...

Great grouping of gold gilt mirrors and frames from Italy. Can be used in a grouping as part of a gallery wall or certainly stand alone. Individual measurements: Pair of mirrors ea...

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 ...

This iconic Danish bread slicer was produced by Raadvad in Denmark, circa 1970s-1990s. The color of the lacquer is the original dark blue. It´s very, very rare. It also came in a sl...

An antique Persian Qajar hand carved wooden pen box. The box has an elongated shape with rounded corners. The upper part of the lid of the box depicts a multifigural scene, the sides are adorned with hand carved floral patterns and cartouches with Arabic letterings. Antique Arabic Islamic Wooden...

Lull No80 Wooden Sculpture – Artistic Installation by Joel Escalona ——— Balance and tension are at the core of these sculptures. The interplay between the smooth, rounded forms and ...

This listing is for 3 Fin Trivets from Souda. Each one is packaged individually. Made using a manufacturing process utilized for railways, medical devices, and electronics, the Fin ...

We absolutely love this decorative trunk from England! Bound in perfectly worn dark leather and adorned with brass studs in swirling patterns. The lock is in working condition and includes one key. A pair of simple handles on each side make it easy to carry even when filled. The interior is lined with a faded red fabric and is fixed with leather cording to support the lid. Both decorative and functional, this unique petite trunk...

Hand-Carved Wood Life-Size Monitor Lizard, School of Bustamonte, Mexico, 1970s Mexico, circa 1970s An impressively scaled hand-carved wooden monitor ...