Hand-Carved Decorative Objects

A reclaimed sculpture of a male torso in traditional attire, hand-carved from a single piece of sandstone. Preserved in its natural color, presenting a weathered texture and appearan...

Our antique (late 19th century) white marble Grand Tour sculpture of Lorenzo de Medici, Duke of Urbino (1492-1515). Sculpture 22 by 9 by 10 inches. The sculpture, carved from Carr...

Wonderful hand carved winged angel head with its original color and gilding. France, circa 1750 Weathered and small losses and old repair. Treated against woodworm. Measurement here...

A fascinating collection of French handblown glass display cloches, presented on a wooden stand that was formerly used as a tool in ironwork forging. The wooden stand bears historic...

Palace size antique Louis XVI style museum quality Carrara marble, Dore and patinated bronze sculptural mantel clock signed Mannheim a Paris 19th Century Centered enamel dial signed ...

A rare and most impressive Tyrolean antique hand carved and painted floor-standing torchiere altar lamp with rich detail and beautiful warm, rustic, distre...

Vintage Folk Art carved wooden bowl or open box features a hand-carved wood construction, accented with rattan splints and fitted with carved handle in shape of goose head and neck. ...

Gorgeous hand carved Canadian geese sculpture in green jade by Lyle Sopel, circa 1990s. Impressive detail and a stunning high gloss finish with deep veining. The piece is in excellen...

Handcrafted of one piece of solid wood, inlaid with silver, scrolling, decorative picture frame. This picture frame is easy to fold into a cross legged standing position and this ra...

CARVED ALABASTER BUST OF "VENUS OF MILO" Probably Italian, first half of the 20th century unsigned raised on an original shaped plinth 18" H x 10 1/4" W x 5 1/4" D Carved in a s...

High victorian inlaid black marble mantel clock circa 1870. Fine quality mantel clock of large proportions from the period in victorias reign when it was in vogue to commemorate the...

Stunning and vibrant, 27 cm high, vase with sgrafitto and hand-painted colored glossy pattern of stylised women. On the base is painted Italy 7862 I have also a smaller and a large o...

19th century birdseye maple box with brass nail head decoration and iron lock plate and hasp. This box is hand crafted with beautiful dovetail joints visible on the corners, evidence...

This exceptional and imposing pair of hand-carved and hand-painted wooden horses embodies the rich artistic heritage of traditional Indian craftsmanship. Standing over 80 cm (31.5 in...

Powerful portrait of a Makonde man with a traditional lip plug in his upper lip, high carved cheek bones in the form of a finely carved helmet mask, with attached hair on top from Ta...

Antique Persian Islamic Brass Jewelry Footed Box in Mamluk Revival Damascene style. A Middle Eastern Moorish Damascene Brass Box circa 1910-1920s. A fine antique handcrafted etched hammered Syrian Damascene brass jewelry box. Octagonal shape lidded antique Moorish Persian footed trinket brass box, handcrafted and chased with calligraphy Islamic Arabic design writing. The Box decorated with etched Arabic inscription and lotus flowers with a very fine Arabesque design. Middle Eastern jewelry brass box with eight small feet, hinged lid, lined in a Moroccan red velvet. Great Moorish Mamluke Revival brass decorative Islamic metal art object. Dimensions 6.75" W × 5" D × 5.25" H. In the Mamluk Style (Mamluk Revival). Origin: Middle East. Date: Circa 1900-1920s. Hand-hammered and engraved, this beautifully incised brass box Islamic...

Available are 3 same-sized french stoneware crocks. Individually sourced in the south of France, this set of glazed stoneware crocks is a staple of any...

Glaciar collection is meticulously handcrafted by our local artisans with these rectangular onyx pieces set around alpaca silver flower vases, boxes and trays. Our pieces are made...

Sculptural 18th century Italian crucifix mounted on emerald in matrix on a reflective mica base. The crucifix artifact is originally hand carved wood with silver leaf from a church ...

A hand carved late 18th/19th Century mythological marble Satyr mask with horns, weathered patina in good condition. The hand sculpted Italian Carrara marb...

Mid Century Bali Indonesian hand carved wood woman. This bust statue with headdress is made out of heavy hardwood mahogany. It is dark rich brown in color. This is heavy and well car...

Truly a majestic Benin Oba. Beautifully and finely hand carved in Ebony hardwood from the 1930's A piece of this quality and stature holds enormous presence...

Seth Thomas City Series - Pittsburgh VP. 6 in. Paper dial with silvered bezel, black Roman hour numerals, spade hands; 8 day spring driven movement No. 6 3/4, signed - S. Thomas, Tho...

Fine antique (19th century) continental bust of a lovely female in curls and dress adorned with bows at the shoulder. Apparently unsigned.

19th century Swedish folk Art wooden bowl dated 1791 & owner marks PPS A stunning antique organic wooden bowl with lovely patina. You can see the use of time. The bowl is made of...

A wonderful hand carved head of Hardwood. A stunning sculpted and carved piece. A stand alone decorative piece or can be used as a large book end. Trul...

Rectangular table box with rounded corners in sterling silver 925/1000 gold plated with a beautiful hand-engraved and fire-enamelled frame and in the center a beautiful hand painted miniature by the painter Beatrice Mellana reproducing the painting by Jean Auguste Dominique Ingres "Odalisque with slave". Dimensions cm. 9.5 x 12.3 x 3.3. Weight gr. 671. Designed by Giorgio Salimbeni in 1979 and manufactured in Florence in numerous specimens with various subjects and different colors, in the headquarters of the Salimbeni Company with completely manual execution by artisan artists with thick slab and large reinforcements suitable for withstanding numerous enamelled firings at about 800° C. Miniature is a very ancient technique which consists of painting works in small proportions. It was born for the decoration of the first letter of the paragraph of the books. Over the years, however, this technique is refined and enriched, then moving on to precious personal items. hand painted miniatures can be done with multiple different techniques. The most important that we use on our articles are of three kinds: 1) Fire enamel. 2) Water tempera on an ivory plate. 3) Painted on mother-of-pearl. Fire enameled miniatures: On a first layer of enamel generally white or very clear or even transparent suitably liquefied at a temperature of about 750 ° C, the chosen subject is painted using miniature...

17th century Italian 'Florence Fragment' mounted with fossil agate coral and adorned with red phantom quartz crystals, and chalcedony rosettes on polished agate base. This fragment is originally from a historical church in Florence. It was found and saved from the historic Florence Flood of 1966. It is part of a very important and rare collection called The Florence Fragment Collection which previously exhibited with Museo de’ Medici in Florence, Italy. This is a collection of historical fragment artifacts found and saved from the infamous Florence flooding of the Arno River in 1966 which was the worst flood the city had faced since the Renaissance. Fossil agate coral is mounted on top of the artifact. Fossil agate coral is Florida's state stone and is known for its unique formation that can take place over 20 million years. It's a natural gemstone that is created when prehistoric coral is gradually replaced with agate. It is adorned with coordinating red phantom crystals and chalcedony rosettes that resemble the color and texture of the piece. The piece has been naturally distressed from the flood. It has been preserved and transformed by Jean O'Reilly Barlow, the creative director of Interi. The date of manufacture reflects when she created the piece and the period shows that the Italian fragment is originally 17th century. The story and history of this piece and Interi's collection of Florence fragments...

Made in France with hand-turned, flared oak legs. Upholstered backrest and seat in a textured cream bouclette fabric (LG.FB-89).

Pair of majestic French 19th century carved 23k giltwood mythological Griffin sculptures. Expertly carved. These impressive one of kind griffin sculptures (or statues) were architect...

CONSOLE NO. 4 J.M. Szymanski d. 2020 A sleek table, bent from a seamless piece of 3/8” thick steel. The table appears to float on a single peg. The table is attached to a wall from...

Stunning wooden Holy Heart of Christ statue. An exceptional and deeply moving life-size hand-carved wooden sculpture of Jesus Christ, depicting the Sacred Heart. This monumental chu...

This South Arabian sandstone stele is a decorative sculpture inspired by the pre-Islamic funerary pillars of ancient Yemen. Entirely hand-carved in natural, sand-toned stone, it refl...

Delicately carved solid Ebony vide poche on a pedestal base decorated with points around the edge.

Classic 1890s Black Forest desk accessory carved from wood in the shape of a wild boar. A lovely addition to your room or just to use on your desk. Made from hand carved wood. Found ...

A set of 2 candle holders, a pair of elegant and pure sterling silver 925 large antique hallmarked three light candelabra in the late 19th-century taste. These fine candelabra have s...

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...

1960s Large Hand-Carved Wood Sculpture of Man Praying / Weeping Buddha Abstract Yoga Wrestler There is a story about two warriors associated w...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

The shape of the inactive Tronador volcano reminded us of the pyramid shaped idea of our boxes that make up this collection. With a rectangular or square base, the box is a reflectio...

Large and impressive burl vessel, hand carved using the natural features of the wood, it is reminiscent of the work of Alexandre Noll.

Wooden coffret, call minnekästchen, engraved with a dog, a hare and foliage with polychromy remains. During the Middle Age, the hare is a symbol of fertility, joy and represents the Christ...

Rounded rectangular pill box in 925/1000 sterling silver with a fine hand-engraved Baroque-style design and fire-enamelled finish. Dimensions: 3.5 x 4.3 x 1.4 cm. Weight: 36 g. Desi...

Decorative volcanic stone hand-carved bowl from Chimborazo volcano, with lathed bronze base & detail. Drawing inspiration from the sacral and baroque motifs of Quito, as well as Ecu...

Majolica amphora made and painted by hand, following the original Renaissance painting technique. This sumptuous vase is characterized by the elegant presence of naturalistic ornamen...

Round favor box with lid in 925/1000 sterling silver gold plated with translucent fired enamel on guillochè and hand-painted miniature of a bouquet of flowers in Art Nouveau style. B...

Cardinal #9 Sculpture by Hiroyuki Nishimura. Material Zelkova This work is carved from log with some kinds of chainsaws. Most of wood used for his works are unable to use anythin...

Yellow Alabaster & Brass Jewelry Box - Mineral Stone Box - Italy 1970s Very elegant jewelry or decorative trinket box. Entirely constructed with alabaster stone and a brass hin...

Antique Victorian Silver-Plated Folding Biscuit Box, Shell Form, Sheffield, c. 1890 This exceptional antique Victorian silver-plated folding biscuit box is a rare and highly decorat...

A Pair of Artistically created birds for table decor, silver-plated roosters - ideal for a coffee table or bookends. These figures are Classic Hollywood Regency! They are each unique...

A charming European ornate picture frame that is suitable for most style artwork including prints, watercolors as well as oil on board paintings. This frame certainly captures that v...

Stylish and perfectly handcrafted pair of early 1900s, table easel design photo frames. If you are looking for the perfect picture frames for a pair of small photos then this early ...

A French 19th century writing box made of exotic rosewood. The top of the petite trunk is inlaid with a small tile of mother-of-pearl, engraved for “Charlotte”. The case opens to rev...

Very charming ribbed gilt gold art frame found in a Paris market. Perfect piece for that special oil painting or watercolor. The frame has fantastic patina throughout. Inside measure...

Traditional 19th century hand painted scandinavian box circa 1860. Rustic made piece from sweden that was used to help secure a person’s possessions. Oval shaped with a slight dome...

A rare and beautifully handcrafted Junghans mantel clock from the Arts & Crafts era, combining timeless design with exceptional craftsmanship. If you are looking for a truly excepti...

Introducing our exquisite silver travertine NARROW Bowl, a fusion of elegance and functionality. Crafted from luxurious travertine natural stone, this stunning bowl is a testament to...

19th century mother-of-pearl crucifix adorned with baroque pearls and mounted on optical calcite. This is a crucifix reliquary from Jerusalem (which is written on the back), created ...

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...

Octagonal notched photo frame in 925/1000 sterling silver gold plated with fine fire-enamelled baroque style engraving. External dimensions cm. 14.2 x 17.8, internal oval cm. 8 x 12....