Carved Decorative Objects

One of a kind sculpture of Crucified Christ in carved wood and crystal eyes (one of them its loose), 18th century Hispano Filipino School. The crown, ...

Meticulously carved from beechwood, this cherub pair recalls the iconic Renaissance style of the fifteenth and sixteenth centuries. Better recognized by their Italian name, putti—the singular putto refers to the Latin putus, meaning “boy” or “child”—these types of figures often recur in religious artwork as symbols of God...

English navette form mahogany & riveted brass banded peat bucket with the original mounted brass handle. Early 19th century.

20th Century African Cameroon Namji Doll for Prosperity, Health & Fertility Offered for sale in a 20th-century African Namji doll from the Namji tribe of ...

21st century hand carved clear crystal and silver bronze candelabra. This candelabra is finely chiseled lost wax castings and hand-grounded glass. This Candelabra has got 6-flames. O...

Bonsai Tree by Pierre Salagnac Material: Bronze, 24K gold, brass Dimensions: H 100 x 70 x 70 cm Type: one-of-the-kind Year: 2023 Revealing the organic curves of nature in the metal block with great talent, Pierre Salagnac has made a name for himself in the world of interior design thanks to his Bonsai Trees that he has “planted” all over the world. The artist creates the trunk by sculpting the shape and texture directly into the bronze material. The 265 different models of leaves are molded, casted and chiseled one by one then finished with 24k gold. The floor part is sculpted from brass and also finished in 24k gold, before being embedded in a traditional Japanese ceramic pot...

An impressive pair of hand-carved hardwood African busts, circa 1970s. The pair are made out of some type of exotic hardwood (zebra wood? very heavy a...

Classic 1890s black forest Brienz wood carved inkwell in form of a Bear. Nice addition to your room or just for use it on your desk. Made of hand carved wood and glass eyes. Found at...

PRESENTING A GORGEOUS 19C Anglo Indian Highly Carved Sadeli Mosaic Sarcophagus Sewing Box. Made in Bombay, India circa 1860-80. Box made of sandalwood with highly carved teak wood reliefs and panels on all sides. Edged with bone and ebony veneers and glorious sadeli mosaic, made from tiny pieces of faux ivory, pewter, green semi-precious stone. The box is in a sarcophagus form with domed lid. The original brass carry handles are on the sides. The interior is in great condition and consists of a removeable mirror under the lid portion, with the original red velvet lining behind it. The base is removeable and contains a number of lidded compartments. 6 of the interior lids on the base, are each inlaid with sadeli mosaic banding. The rest are also carved and chased. The interior is fully complete with 7 lidded faux ivory/bone, thread canisters with sadeli domes and the original bone thimble. The box sits on 4 brass ball or bun feet with the original velvet lining on the base. Some minor repairs and losses, but this box is fully complete. This is ‘rare’ as many of these boxes have not survived in such condition! Included in the sale are 2 photos that were in the box (under the base tray). Interestingly, one of them is a view of downtown Nassau, New Providence (Bermuda) from the early 20C and stamped on the rear. What a ‘journey’ this piece has made! Made in India … travelled to Bermuda, probably via Britain … back to Ireland (where we bought it) …. then to Texas! These boxes were made by superb Indian craftsmen, specifically for sale to the ruling British elite. These types of boxes, carved padouk and sandalwood, (whilst beautiful and superbly crafted) were of a lesser quality, than the more profusely and intricately mosaic inlay, tortoiseshell and ivory boxes, made for the British ‘Upper Classes’ in the areas of Bombay and Vizagapatam. These type of boxes were much more affordable back in 1880 (and indeed today) and would probably have been bought by mid-level diplomats, civil servants or visitors. Sewing boxes (in general), were in EVERY Victorian home in Britain in the 19th Century and like other boxes etc were ‘status symbols’ of your place in society! The more ornate the box, the more ‘Upper Class’ you were! Of it’s type, this one, is one of the very higher quality one’s, than the norm! SADELI MOSAIC: “Anglo Indian boxes were made in India for the English residents from the early part of the 18th century. They were brought back or sent back to England usually by the people who had commissioned them. From the beginning of the nineteenth century they were imported more commercially, although not in any significant numbers until the middle decades. They were very highly valued, especially the early ones, to the extent that the designs were copied on late 19th and early 20th century tins. The ancient art of Sadeli Mosaic is said to have been introduced from Shiraz in Persia via Sind to Bombay, a long time before the Anglo Indian boxes were made. It was a technique, which required a high degree of skill and patience. It was executed very lavishly, in that the frequent cuts wasted a great amount of the precious materials used. The workmanship was however more than commensurable to the value of the materials. Ivory, silver, pewter (or other metals), wood and horn were cut into faceted rods which were bound together to form geometric patterns. When the glue has set, the rods were sliced in transverse sections. This gave the maker a number of angled circular pieces in the original pattern. Several variations of patterns could be achieved by combining the materials in different ways. The ivory was sometimes dyed green to give an extra color. The mosaic pieces in a combination of patterns, often separated by ivory, ebony, horn or silver stringing were used to veneer sandalwood boxes. In the early boxes, which date from the turn of the 18th to the 19th century, there are large panels of mosaic covering tops and sides of boxes. It took incredible skill to cover such large areas without any shakes or wavering of the pattern. The corners and joins on these boxes are impeccably matched. The makers (reputed to be Persian) of Sadeli mosaic made in the first two decades of the 19th century displayed a total understanding of the qualities of the different materials they used. They combined substances, which can expand and contract according to atmospheric conditions with others, which are hard and unyielding. The result was a sharp definition of the lines and patterns, which made up the whole design. On the early boxes the designs look deceptively simple. The fact is, they emerged from a culture, which had mastered geometry and understood how to generate a pattern from a set number of points. The patterns are so harmoniously combined that their incredible complexity is not immediately apparent. The earliest Sadeli boxes...

V&A Marie-Antoinette Mantel Clock – Sèvres Style Porcelain & Gilt Bronze, Sunburst & Swag Decoration, 39cm An impressive Sèvres-style porcelain ma...

Carved pine or mahogany Egyptian Pharaohs, based on the Thomas Hope Deepdene temple model. Thomas Hope pedestals, with carving, can be supplied. Please note we are currently working...

Art Deco Crow Ashtray or Catchall with Match Holder, Painted Wood, France 1940s Art Deco Catchall or Vide-Poche, Zoomorphic style. This very rare object was initially an ashtray w...

Free Worldwide Shipping Novelty Antique Fruit Tea Caddy From our Tea Caddy collection, we are delighted to offer this Continental Novelty Pear Fruit Tea Caddy. The Tea Caddy turned...

A Marvelous 19th Century French Louis XVI Style Baccarat Ormolu Mounted Crystal Centerpiece with Crystal Columns and Lions Paw Feet. The Bronze is marv...

Swedish Empire Butter Box, ca 1820-1830 Beautiful dark pattern and color. Old repair and signs of wear. Made of Swedish Kolmården marble. Heigth: 7.5 cm/2.9 inch Width: 13 cm/5.1 ...

Egg on tripod in 925/1000 sterling silver gold plated with translucent fired enamel on guillochè, Russian Empire style inspired by Carl Fabergè eggs late 1800s, early 1900s. Measurem...

Round snuffbox in gold-plated 925/1000 sterling silver with fired enamel on the enamelled edge with vertical stripes and a fine floral miniature hand-painted by the painter M. Grumet...

A very large antique Asian wood carving of the iconic Laughing Buddha. The sculpture has great form, the Buddha with his right hand resting ...

A beautiful and exceptionally 18 inches tall Classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good conditi...

Brazilian parrot carved from semi precious stones perched on a quartz geode and presented on a lucite base.

A composition of onyx with alpaca metal. Inspired by the pure and essential lines of a structure of solid stones, with a vertigo stability. Our pieces are made by hand. One of a kin...

Inspired by vessels of antiquity, these vases features ornamentation that evokes friezes found on architecture of ancient Egypt. Crafted and finished by hand, the object has been wor...

Impressive Grand Tour classical throne executed in patinated terracotta, Italy, late 19th century. The sculptural seat is richly decorated with continuous relief friezes depicting my...

A studio elder burl wood box, hand-crafted and signed by artist, Organic Modern style Post-Modern period, circa late-20th century. A beautiful hand-made blond elder burl wood box wit...

Old lotus flowers finial sculptures mounted on a black base. When I found them, there was a thick layer of wax mixed with dirt, hiding the wood carvin...

5.51 x 10.5 // 14 cm x 28 cm Salta bookends are solid heavy beautiful pieces of geometrical onyx stone, mostly in square base and round top. Very sharm for a personal library. Our...

Still Stand Abstract Biomorphic Wood Sculpture, Chainsaw Carved From Single Piece of Oak Wood

This captivating biomorphic sculpture is a one of a kind piece, hand carved from a single, highly figured block of solid walnut. Its form rises from a clean cut base and branches int...

Chinese Gilt Polychrome Wooden Carved Tang Dynasty Style Horse Sculpture. Featured nicely hand carved and hand painted with gilt highlighted on...

A pair of vintage Italian hand-carved marble candlesticks, 20th century. Marked “Italy” with edition number on verso of each candleholder.

A Modern Heirloom: Large Square Guilloché Enamel Frame by Giorgio Salimbeni Presented is a commanding and radiant square photo frame, a masterwork of contemporary Florentine jewelry...

A scarce antique African tribal carved Hemba helmet mask, the Suku peoples, possibly Kwese culture, Democratic Republic of the Congo, Central Africa, early 20th century, surmounted by four-legged animal, over round face, with mouth ajar and incised jagged teeth exposed, protruding almond shaped eyes, scattered remnants of pigment, full raffia fiber fringe, mounted on wood stand. A superb museum quality example, this remarkable tribal folk art sculpture is a wonderful way to add rustic warmth, rich historical depth, and fascinating cultural interest to any space! Dimensions: (approx) Overall: 26" High, 9" Wide, 10.25" Deep; Mask only: 15" Tall; 7 lbs total Provenance / Acquisition: Acquired from the highly reputable auction house, Austin Auction Gallery, est.1983, Austin, Texas. Excellent Condition: Nicely aged distressed patina over the whole. Highly desirable wear consistent with age and indicative of use, including scattered losses, antique character marks and typical signs of aging throughout. Retaining scattered remnants of original pigment. Overall a superb museum quality example Primitive Arts Of Africa: Among the Suku of the southwestern part of the Democratic Republic of the Congo, masks plays crucial role in protecting boys during initiation, the vulnerable period between boyhood and manhood. The power contained in Hemba masks...

Gondola, big elegant bowl, hand-sculpted from a solid block of Rose quartz. The polished finishing underlines the transparency of the onyx making this a very precious object. Bowl ...

Important sculptural vase carved by hand from a solid block of Arabescato marble. Vase dimension: D 52 x H 45 cm. Available in different marbles, onyx and quartzite. Limited edit...

A beautifully cast late 19 century French bronze statue by Emile Picault of a classically draped winged maiden on clouds holding a tablet inscribed "La Reconnaissance est La Memoire ...

A large and graceful carved nephrite jade conjoined double vase in the form of a pair of Buddha's hands fruit (finger citron), late Qing Dynasty, circa 1900, China. The large and heavy vase carved from a single piece of celadon nephrite jade, with areas of lighter brown "sugar" skin. The vase ingeniously carved as a pair of Buddha's hand fruit, also known as finger citron, rising from a gnarled, leafy branch. The smaller Buddha's hand with a pair of bats. The Buddha's hands fruit with elegant and naturalistic curved "fingers". The "fingers wonderfully shaped and reticulated. The body of the fruit with simple stippling, in imitation of the textured surface of the real fruit. The interior of each fruit well hollowed and able to hold water. Buddha's hands fruit are auspicious in Chinese culture. Their name in Chinese "Fo Shou" is a homophone for "Happiness and Longevity. They are often placed as offerings on Buddhist altars...

400-600 year old sandstone figure of a "Demon" carved in deep relief. In good original condition with a natural age-related patina that emphasizes the figure's age and authenticity. ...

An Outstanding Pair 19th Century Italian Hand-Carved Carrara Marble Busts of Apollo & Artemis, One Bust is Signed on the Back, "F Vichi". This pair of stunning marble busts, hand-car...

A pair of antique Italian angels carrying a cornucopia, two exclusive Baroque polychrome hand painted and hand carved giltwood armorial sculptures dating back to late 17th century and coming from an private villa of Siena, a Tuscan city in Central Italy. This pair of hand carved, painted and gilded Cembran pinewood figurative sculptures represent two standing angels...

19th Century French Dough Trough or Bread Bowl. Hand-Carved Chestnut with a Primitive Handle. Beautiful color and patina. Made in Burgundy, France,...

Luxurious Desk Set Description:Elevate your workspace with this sophisticated set of desk objects, comprising a ballpoint pen, fountain pen, tray, and letter opener, all crafted from...

Two 20th Century English Style Polychromed Carved Wood Apple Boxes/Tea Caddies  We are delighted to present this charming set of two 20th-century English-style polychromed carved wo...

Igorot tribesmen wood carved picture depicting an indigenous murder scene. Northern Luzon, Philippine islands. Were feared & known as deadly head hunt...

Rare and decorative triangular bowl by legendary designer Marianne Starck for the Danish ceramic workshop Michael Andersen & Søn (MA&S). Manufactured ca 1950s to 1960s. The belongs ...

Discover the Crystalline collection by Czech ceramicist Milan Pekař — a series of vessels where science and artistry meet in perfect balance. Through precise and painstaking experime...

A monumental Italian tazza hand-carved from luminous Carrara marble, dating from the late 18th to early 19th century. Elegant in proportion and sculptural in presence, the vessel ref...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

19th Century Wedgwood Jasperware twin handled campagne urn and cover, in the Neoclassical style, decorated with a frieze of Greek figures, with palmette borders in white on a blue ba...

The REI vase symbolizes irregularity, embodying the unconventional spirit of Rei Kawakubo — the visionary designer behind Comme des Garçons. Through her groundbreaking collections, K...

Grand Tour bronze bust of Moses after the marble original by Michelangelo. Mounted on a Sienna marble socle base. Signed Otto Muller. Karsruhle. Germany circa 1890. Beautifully cast...

19th Century Wood Pipe, Zulu People, South Africa A wonderfully carved abstract pipe from the Zulu people of South Africa. It measures 5.5 high as mounted on the custom metal base, ...

A large wooden sculpture by Danish artist Ole Wettergren, created in the 1980s. Joy reflects Wettergren’s characteristic precision in sculptural form and his dedication to the natura...

A Magnificent, Exceptionally Rare, Museum Quality Pair of 18th Century English Ormolu Mounted, Hand-Carved and Hand-Polished Carrara Marble Cassolettes, By Matthew Boulton. These beautiful ormolu-mounted white marble cassolettes are by Matthew Boulton (1728-1809) and John Fothergill (1730- circa 1782) published in their Pattern Book No. 1 (page 171, figure t) and reproduced in Sir Nicholas Goodison's Ormolu: The Work of Matthew Boulton (New York, 1974, page 383, figure 161). Josiah Wedgwood (1730-1795) was a close friend of Boulton's and his patterns are thought to be the source for the medallions used on the plinths of these. Boulton's medallions of classical figures are almost identical to the cameos and intaglios made by Wedgwood and his partner James Tassie. Molds for these examples can be found in the Wedgwood Collection at the Victoria & Albert Museum. All derive from the same classical source of Renaissance gems. Many gem collections in Europe were widely published at this time and Boulton's library contained A. F. Gori's Museum Florentinum (1731-1766), in which gems from the Medici collection were engraved. The subjects of the medallions on this pair are: Pomona, a Roman goddess of fruit trees, gardens, and orchards, and depicted carrying a basket on her head overloaded with fruit, tumbling to the ground, shown once on each vase. Hygeia, once on each, with an olive branch in her right hand, as seen in Tassie's reproduction of Valerio Belli's gem, and holding a snake in her left hand over an altar. This was produced by Wedgwood both as an intaglio and as a cameo. Venus & Cupid, only on one vase, showing Venus leaning against a column with a pike, and giving a helmet to Cupid. Aesclepius, Greek GD of medicine, only on one vase, depicted with a snake wrapped around his staff .The last medallion subject is either Diomedes or Perseus, shown once on each vase, depicted as a conquering hero. Boulton asked patrons to choose from a limited repertoire of motifs, and therefore each vase or pair of vases is adorned with their own combination. Boulton used nine medallion subjects on recorded vases of this type. PROVENANCE & COMPS Another pair of this model, with slightly less elaborate lids and finials, from a private collection are illustrated in Goodison's Matthew Boulton: ORMOLU, (page 379, figure 153). A further example is in a private New York collection. This pair, which was acquired from Hotspur in 1981, was formerly in the Collection of Marjorie Wiggin Prescott, sold Christie’s, New York, 31 January 1981, lot 76. The Prescott Collection was one of the most important English furniture collections of its time. The sale consisted mostly of late 17th and 18th century English furniture...

Black Forest carved and hand-painted 'pig' sculpture mounted to a circular board for wall hanging (ca. 1930s/40s, Germany). Charming piece with all original paint with naturally aged...

An antique Qing Dynasty table clock for export. This is an amazing antique table clock created during the Qing Dynasty, back in the late 18th century. Masterfully crafted around th...

A monumentally proportioned alter pricket stick, of hand-carved giltwood. Its knopped body decorated with acanthus, beading, reeding, and elaborate scrollwork. Raised on a tripartite...

Possibly classical or later, carved stone fragment in the form of a stylized lion’s paw or foliate terminal, likely from a column base, furniture mount, or architectural element. Pal...

This nicely carved bird figure is done in an 18th-century style but is from the very late 19th century to early republic period. The stone is a soft mellow celadon green with dark br...

Swiss Black Forest hand-carved chamois deer wood carving. Portrays chamois stag walking up rocks and looking to his left. Exceptionally carved and proportioned, with accurate colorin...

Rectangular pocket cigarette case with long rounded sides in 925/1000 sterling silver with red and black fire-enamelled stripes. With button and spring opening. Measurements cm. 10.3...