Wood Decorative Art

A French framed oil on canvas still-life painting from the 19th century depicting fruits, signed Morin. Created in France during the 19th century, this oil on canvas painting features mouth-watering cherries and prunes displayed in wicker baskets and flanked with a copper strainer...

Italian modern large and very colorful abstract painting, 1980s. Decorative wall work, in fabric, with abstract subject and square-shaped frame in light wood. Background with a predo...

A lovely antique oil on linen painting from Spanish Colonial period late 18th-early 19th century. In the style of Classic Cuzco School, the painting depic...

Keith Haring, signed and numbered. Abstract lithography, in its blond oak frame. Numbered 79/150. American work made in the 1990s.

Incredible postmodern three piece wall art. Each piece is comprised of wood in the shape of a triangle. Displays and green paint over paper.

1950s Carved Wood African Mask Chip in the back as shown

A CHINESE DEEP-RELIEF GILT & LACQUER WOOD PANEL 19th Century. Depicting a court scene carved in deep relief, red and black lacquer highlighted with gold later framed. Extremely col...

This abstract tableau has been hand carved out different kinds of woods. The abstract shapes are amorph and make an interestring composition.

Hand-painted in Florence, Italy, this fantastic oval wooden wall panel features a large urn with a scrolled handle. The urn is adorned with a fluted...

Heinz Pinggera (Italian, b 1900) "A Recital for the Cardinal" oil on canvas within a gilt-wood and gesso frame. The interior 18th century rococo scene depicting a seated Cardinal or ...

James Bama (American Artist, 1926-2022) "The Drift on Skull Creek Pass", offset print lithograph from the original photorealistic painting, pencil signed lower right and numbered 54/...

Vintage Cape Lookout Lighthouse Deco Object, in Very Good conditions. Designed 1970 to 1979. Additional information: Materials: Wood Color: Black Item T...

Pair of Black Forest style wall plaques C.1880’s. Each plaque displays beautifully detailed wood carvings, first photo consists of a fish carving and the other plaque consists of a b...

Antique and unique wall coatrack with amazing alabaster carvings. It is not often that you find an antique that is not completely original, but where they have done a great job in creating a, so called, marriage that simply looks beautiful. This handcrafted wall coat rack was made around 1900-1910, but the exeptionally detailed, hand carved alabaster tiles date back to circa 1850-1870. These mis-Victorian works of beauty are hand-carved in deep relief and both the fruits in the vases as the scrolling leaf patterns in the center tile are among the most detailed we have ever seen. All three tiles have no breaks in them and only minor losses. So if you are looking for a unique antique wall rack...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

Astonishing lithograph on paper by Salvador Dalí titled "The Discovery of America by Christopher Columbus", numbered 36/300. This work is an a...

This English brass horse from the mid-19th century features black eagle, a horse belonging to circus proprietors John and George Sanger. The highly trained...

An extraordinary Original Lithograph of Renaissance Medici Pope, Leo X (1474-1521). Beautiful hand crafted Biedermeier Frame. We believe it is from the 1860s. Viewable picture size ...

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

A woman's coat made of black silk with wide sleeves from Chinese late Qing Dynasty (mid to late 19th century), mounted and presented on blue linen board and framed as a stunning piec...

Umetaro Azechi "Three Men on Mountain" Abstract Woodcut Monoprint A colorful framed abstract woodcut monoprint by well-known Japanese printmaker Umetaro Azechi (1902-1999). He was b...

Framed 'Mimoides Pausanias,' 'Dione Juno,' and 'Haetera Piera' butterflies with coordinating 18th century Italian fragments. The butterflies all share beautiful color and pattern com...

Evelyn Ackerman Carved Redwood Panel for Panelcarve, circa 1950s. Features a bird, ram and frog in typical Ackerman style. Measures 36" wide, 12" high and 1" deep. Stamped "copyrig...

A monumentally scaled and most decorative Italian late 17th century Baroque Period Venetian st. patinated Wood and Giltwood wall decor. This most impressive wall decor/plaque is unde...

A charming later Victorian textured canvas applied to wood, study of Thomas Gainsborough's three-quarter portrait of the Welsh actress Sarah Siddons, presented in a period Ebonized c...

1940's Asian Chinoiserie Hand Crafted Black Lacquered Hand Painted Decorative Wall Art.

A large and beautifully carved Victorian Tudor revival oak wall hanging panel, handcarved with two ornate arches, Vitruvian scrolling and four male and female herm-type figures. Formerly a fireplace overmantel...

This beautiful Painting titled “The Wren Song” by English Artist Alan M Hunt, early Twentieth Century. Complete with its original modern frame. Signed l...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

A Spanish carved-wood wall hanging pediment with it's original painted finish from the 19th century. This antique wooden architectural pl...

Pair of 18th Century Very Large Oil on Canvas Panels framed Wall mount Art LA CA . Very RARE 18th century very large and impressive pair of French / Continental painted oil on canvas...

Set of Four Framed Coral Prints, Corallium Rubrum, After Antique Engravings, by Two's Company A striking set of four offset prints depicting Corallium Rubrum, the red coral, inspire...

Vintage original Folk Art landscape features a rural scene with people in horse-driven carriages arriving to and passing by the small stores, including bookstore and antiques store, ...

This dramatic fossil speciman is a 50 million year old Amia pattersoni from the Green River Formation. This is among the finest and most detailed examples of Amia which we have ever ...

Oil on board Venetian Canal Scene looking towards the mouth of The Grand Canal with Della Salute to one side . Typical in the Grand Tour style of 18th ,19th and 20th centuries ..

Rare set of two small framed oil paintings by Ivan da Silva Bruhns, (Paris, 1881-Antibes, 1980). Unique works. Signed. Each panel is 9 in. wi...

Pair of tiger and lion Art Deco framed paintings. Oil on panel. Beautiful carved wood frames.

Charming Japanese Showa period two-panel folding byobu screen featuring an embroidered silk picture of beautiful gift boxes. Stunning pattern of Hanaguruma (flower cart) laden with d...

A large 19th century oil on canvas Bacchante group depicting two allegorical young semi-nude maidens dancing with pan, attributed to Leopold Schmutzler...

19th-Century Framed Oil Painting on Hardboard Depicting Genre Scene We present you a small painting from the late 19th century depicting a genre scene. The oil is on hardboard, the ...

Fine and rare pair of antique Dutch Verre Églomisé reverse oil paintings on glass panels - featuring moody landscapes with a castle and church, having ...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular 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 (all high quality gilt is original) 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, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 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...

A large 19th century Chinese carved wall plaque in wood features a hunting tiger on rocks with bamboo trees and the sun in the background. ...

Pair of antique hand carved walnut bas relief panels / wall plaques, showing Neoclassical female figures, one holding sheaves of wheat and the other ...

This is an antique framed Arabian horse relief. An English, gilt metal and giltwood display panel, dating to the late Victorian period, circa 1900. Sump...

Early 20th century antique French scourtins, circa 1900 to 1930s. These coarse round mats, made from the fibers of coconut shells, were historically used as a filter in Provence's olive presses. Now used as decorative floor mats or wall hangings, these antique and vintage mats...

Very beautiful Russian icon with a processional cross in its center from the 17th century We can see that the icon was created to accommodate the processional cross with the Chris...

Pair of Geisha Bijin lithographs, one with a parasol, the other holding a fan, in convex glass oval giltwood frames with gold paper mounting.

A set of three metal artworks with wooden frames. The clean black frames of these three decorative artworks allow the textured maximalism of the pieces to shine, bringing forth the m...

Our Two Dice Set features two 6cm wooden dice with delicate malachite inlays. Elevate your game nights with these stylish, handcrafted gems. Celebrating the exquisite art of woodwork...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning medium sized display case which houses large vintage Taxidermy Butterfly's Please note the d...

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 two-tone gilt wood, gilt-patinated 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. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 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...

A Dutch delft Porceleyne Fles tile "delft”, 1932 A delft Porceleyne Fles tile of 15 cm high, 15 cm wide in a wooden frame. Image represents and titled "delft " and was painted by ...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Hugh, lighted wall relief or object with African pots. This unique object is made by an Congolese artist and is in very good condition. Measures: Width 121...

This is a late 20th century chinoiserie screen attributed to Decorative Crafts. It has four panels that would make it versatile to wor...

Pair of 18th century Irish Georgian sconces with agate coral and coordinating gold leaf baroque pearls. 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. The pair is put together by Jean O'Reilly Barlow, the artist and creative director of Interi. The date of manufacture reflects when she created the pieces and the period shows that the pair of Irish Georgian wall brackets are originally 18th century. The pairs of Georgian sconces...

This is a tall vintage decorative panel. A Chinese, framed silk cotton embroidered display, dating to the late 20th century, circa 1970. Attractive golden tones to this charming pa...