Hand-Carved Furniture

A rare antique, circa 1890s, German hand carved and painted wood carousel horse carnival fair ride by Peter Schneider (famous for making the first double decker carousel in 1898). ...

A fine French 19th century Louis XV style giltwood carved three piece salon suite, comprising of a canapé (Settee) and two fauteuils à la reine...

Oceanic Schouten islands Pounder Papua New Guinea A Fine old hard wood Pounder or pestle with a standing female figure from the schouten islands off the north coast of Papua new Gui...

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 b...

A Swedish Rococo cabinet from Varmland. The bonnet top consists of an impressive overhanging arched pediment cornice. Upper section has four shelves and five small drawers (with simp...

This Louis XVI style walnut writing table from the late 19th century features a hand carved element of a classic crossed torch and quiver with a crown of laurels. Its beveled top res...

Hand-carved, circa 1720, using chestnut and oak woods, this desk was recently part of Le Grand Monarque hotel in Chartres, France. The desk has been stripped at some point, allowing the beautiful wood grain and round dowel construction to become focal points. The stunning desk has a shaped top with quarter round molding. A 23 ½” W seat opening is topped by a concave front drawer with a bronze drop handle affixed by a pair of rosette mounts. Similar handles can be seen on each of the four main drawers, which are surrounded by thick cavetto molding. These drawers also have a scalloped keyplate and mounts of two putti hunting dragons hidden amongst foliage. Interestingly, the sides are comprised of four rectangular panels, with the two nearest to the straight back side being functional drawers. Known as a bureau caissiers (“cashier’s desk...

Vernacular ladder back fireside chair in birch with later rush seat. Unusual decorative turned finial ears atop the back's stiles. Wonderfully slightly misshapened wooden back cross ...

A light-grey, antique pair of Swedish Gustavian pedestal cabinets with four shelves made of hand crafted painted Pinewood, standing on a round base, enhanced by detailed wood carvin...

Colmar, where this handsome buffet deux corps was crafted, is an affluent commune in the Alsace region of France, a mere 15 miles from the German border. Because of this proximity, the hand-carved oak cabinet features some elements that were inspired by German woodworkers of the early 1700’s. A robust lower body, with a thick molding along the apron, is supported by four onion feet, often found on large German case pieces...

Antique French Dessert Server Sideboard Buffet Louis XV Carved Tiger Oak c1890. Direct from France, a highly carved antique French dessert serve...

This large 8 feet long antique dining table was crafted in southwest France circa 1980. Built with antique and reclaimed old timbers of oak a...

Shown in our listing here, is a set of six French Louis XVI handmade dining chair, but we also have sets available in any quantity through 1stdi...

This Indigenous American totem pole was done by the renowned master carver John T. Williams of the United States in approximately 1960 in his signa...

Bench cedar and iron in solid natural aromatic cedar wood and with lacquered iron. Made in on block of cedar wood. Treated with natural pine extracts wax. Elegant and original piece...

A Chinese canopy bed was typically part of a bride's dowry or a gift to a courtesan. It grew to be an important household status symbol, and the sub...

A George III design, mahogany four-step metamorphic library coffee table, with decorative gilt incised leather top and leathered steps opening to f...

19th century antique Chinese hand painted gold lacquer scene gilt fan 100 faces with original lacquer box, fan is 17 inch x 9.5 x 1, the lacquer fan box is 10....

Custom Olive Epoxy Resin Dining Table - Live Edge Wood Table This stunning table is made of Mediterranean Olive wood. The unique beauty of the natural curves of olive wood combined...

19th century Swedish trestle table in style in “Allmogestil," country folk customs and traditions cherished of the native traditions and folk culture. A rustic family table in gray/b...

We are delighted to offer for sale this Stunning Eros Liberty Brass Bed This Antique Italian Brass Bed from the Art Nouveau Period, offers a fabulous Art Nouveau style with its int...

Set of 4 Jessie Stools by Proisy Studio. Jessie is an elegant and refined hand-carved stool designed by Proisy Studio. The handcrafted gouge carving work makes each piece unique tha...

Pair of Chinese Huanghuali arm chairs and carved Floral Medallion on the center of the backsplat, and with gracefully curved arms having a rich natural patina and distinctive grain. ...

A French, Louis XV style walnut canapé from the mid-19th century with wraparound back, scrolled arms & cabriole legs. Of heirloom quality featuring new cotton Linen upholstery and s...

A big hand carved painted stag sculpture in wood, early 18th century. Pre-owned by a collector. This sculpture are one of a kind. The stag deer are a symbol of spiritual authority, a deer stag is here depicted in all its magnificent elegance. Wooden sculpture of a life-size deer stag laying upon a rectangular platform base. The symbol of the stag: The deer’s antlers are one of the characteristics that have made it the figure of a spiritual superiority, according to some. Like a crown, the antlers grow beyond its body, bringing it closer to the sky and making it sacred. In many cultures, the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of reGeneration. In the Christian imagination, the deer is a symbol of piety, devotion and of God taking care of his children: men. The legend of Saint Eustace...

Hans Zatzka (Austrian, 1859-1945) a very fine and charming oil on canvas "Spring Beauties", depicting three young maidens picking flowers by a lake. The three young girls sitting, kneeling and laying on a grassy area of the forest, her wicker basket filled with the freshly picked flowers, the middle one wearing a bonnet and a straw-hat laying on the ground behind with butterflies flying by, within a gilt-wood and gesso carved frame. Signed (l/r): H. Zatzka. Circa: 1890-1900's, Hans Zatzka (Austrian, 1859-1945) was a well known and regarded Austrian fantasy artist whose most popular and valuable works depicted figures of young maidens with angels, floral and other cheerful and warm scenes, including Orientalist themes. In the past thirty years alone, the high quality and detail of his beautiful paintings has caught the attention of International collectors and art dealers alike, creating a highly sought after market and demand for his instantly recognizable body of work. In the late 19th and early 20th century, many of Zazka's charming works were photographed for commercial and collectable postcards. Though no information about his works being exhibited in museums is currently available, most of Zatzka's paintings are in private collections and, in the past century, very few of them have become available on the open market. At the young age of eighteen Zatzka joined Austria's Academy of Fine Arts under the leadership of Professor Blaas. For his fine early works, in 1880 he received The Golden Fügermedal award. Zatzka, like many other artists of the era, traveled around Europe working and selling his art and, in one of his many trips to Italy, he developed a special interest in Religious themes, decorating churches with frescos as well as painting several religious scenes of Madonna's and Child, Saints, Angels and others. In 1885 Zatzka was commissioned to paint "The Naiad of Baden" a ceiling fresco at Kurhaus Baden. Most of Zatzka's income came from his work in religious art and special church commissions. Numerous leading art dealers from around the world that specialize in late 19th and early 20th century European genre paintings have come to the conclusion that the painter signing his works Bernard Zatzka, Joseph Bernard or J. Bernard is almost certainly the artist Hans Zatzka. The consensus seems quite plausible when comparing works known to have been executed by Hans Zatzka together with similar works displaying the signature; Joseph Bernard, J. Bernard or Bernard Zatzka. Lohengrin refers to the knight of the swan, hero of German versions of a legend widely known in variant forms from the European Middle Ages onward. It seems to bear some relation to the northern European folktale of “The Seven Swans,” but its actual origin is uncertain. It is also a character in German Arthurian literature. The son of Parzival (Percival), he is a knight of the Holy Grail sent in a boat pulled by swans...

This reproduction of a classical Hellenistic sculpture of Hercules. A timeless piece for interior and a garden decoration. We can raise with a base on request.

Here we offer a functional piece of 19th century traditional swedish furniture circa 1890. Multi purpose table which could serve as a side table, occasional desk or kitchen table. ...

A wonderful early 20th century carved mahogany locksmith trade sign in the shape of a large key. Makes an unexpected piece of wall art as a found object with tons of character.

Scandinavian Teak Decorative Dishes, Set of 2 Bowls, Mid-Century Design 1960s Elegant teak trays from the 1960s, likely of Danish origin. Their distinctive diamond-shaped design g...

From Niagara Furniture a vintage Hickory Chair Sideboard in excellent condition with the topd having been recently French Polished to give it ...

Chinese screen for export with 6 panels decorated on both sides. The front side with various scenes of daily palatial life with relief figures, buildings and landscapes made of pain...

A 20th Century, vintage Mid-Century modern Italian writing table made of hand crafted polished Mahogany and Walnut, designed by Ico Parisi in good condition. The freestanding desk is...

Antique, 19th century Asian Middle Eastern collector two person wooden camel saddle with ornate brass mountings and iron reinforcements. 19th Century Midd...

Unique Japanese pine stool. Lots of patina, it's a true beauty of minimal craftsmanship. Lightweight and easy to move. A true eye catcher in any interior. __________________________...

This matched pair of antique hand-carved walnut wall brackets were salvaged from an early Victorian house in Montreal, Canada. The brackets are unsigned, but presumed to have originated from Canada in approximately 1850 in the period Victorian style. The brackets are solid walnut in their composition and have ornate decorative carvings. These wall corbels...

This exquisite antique Adams-style hand-painted satinwood sideboard, also ideal as a credenza, combines timeless elegance with refined craftsmanship. Shaped in a graceful demilune, i...

An elegant early 20th-century French Provincial dining table, sourced from Provence, France. Beautifully handcrafted from solid maple, it showcases a naturally aged honey-brown patin...

An Extraordinary Pair of early 20th century carved wood Panels depicting the Four Seasons. Tall narrow unpainted panels with high relief carved decoration with motifs of the Four Sea...

Stunning 19th century English Jacobean armchair. Chairs feature ornate spiral carved barley twist in oak. lower stretcher, intricate carved back and urn form finials. Very impressive...

Mid-20th century modern wood bureau a gradin/writing desk table designed by Jean-Michel Frank, Argentina By: Jean-Michel Frank Material: wood, metal, leather Technique: cast, molded...

Designed after an English antique, this high quality Mahogany Inlaid Console makes elaborate use of high quality inlays. Drawing inspiration in design f...

A whimsical and playful early 20th century leopard-form mancala game board carved with the board resting on the leopard's back and with a patina that only a hundred years of use coul...

A fine vintage robe rack with generous proportions having a good traditional form. There are two carved dragon head top elements that are powerfully carved, ...

An excellent quality Mahogany Hepplewhite Chest with serpentine shaped front, dovetailed drawers and solid brass handles. Produced with fine grain mahogany solids and great quality v...

Rare Art Deco alabaster three light chandelier with rose and leaf relief and unique gilt bronze suspension point decorations. An extraordinary and rare lighting fixture from the Art...

ALEXANDER BLACK MARBLE CONSOLE TABLE Type of Marble: Alexander Black Dimensions: 48" x 16" x 29,5" Leg Model: Alexander Black Customizable: Available! Production Time: 3-4 Weeks Shi...

An impressive Pair of 18th Century Philadelphia Chippendale Carved Mahogany Chairs with newer seat upholstery. One of the most profusely arved Rococo style side chairs known from Col...

The George III style produced exceptional quality pieces that many collectors have deemed the finest examples of furniture design. During this time Georgian furniture makers preferre...

France / 1915 / Coat Rack / oak, brass / Art Nouveau / Art Deco Nicely shaped coat rack in Art Nouveau style, hand crafted in France around 1915. This rare to find wall mounted rack...

19th century burr walnut tall chest of drawers circa 1870. Beautiful quality walnut chest of drawers which has just been fully restored in our workshop. Scandinavian chest, which c...

Early 20th century, antique vanity or entrance console, entry mirror on a hand carved walnut frame, with a gold leaf surface finish. Venetian Baroque cabinet in walnut and burl walnu...

Big shepherd’s chest with a beautiful appearance and proportions from around 1850. These chests were made in the same way for centuries. They were decorated with traditional magical ...

Beautiful large hand decorated ceramic floor lamp. Rich details such as the fine antelope on the front and flower motifs on the backside, realized in sgraffito technique. Designed by Marian Zawadzki, model "Oryx" for Tilgmans Ceramic in Sweden. Dated 1960 Signed here by. This pleasing vintage lamp will complement many interior styles. A Modern, Scandinavian, Classic or an Art deco home decor.

large French trophy panel, glorifying the attributes of agriculture, that was hand-carved in bas relief during the 1900’s. Trophy plaques became popula...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Crafted in France, circa 1960, this large, hand carved sculpture sits on an attached square iron base and depicts a colorful hand-painted horse figure. The horse features a flowing m...

A beautiful gold gilt and carved mantle mirror with original mirror plate hand-crafted in France in the 19th century. This mirror is large, beautiful and dripping with exceptional de...