Carved Decorative Art

A pair of antique carved wooden architectural panels from the 19th century, with traces of original paint. This exquisite pair of antique carved wooden panels from the 19th century, ...

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 ...

An oversized antique Asian Buddha head made of hand crafted tropical Hardwood and finished with gilded detailing, in good condition. This large scale wall mounted decorative sculptur...

Highly stylish and marvelous design Art Deco wall barometer. This stylish antique from the early 1900s is a dream of anyone with an Art Deco (inspired) interior. This design could...

Absolutely charming, large wood carving of a young Bavarian girl and sunflower wall decoration This substantial wall hanging is two feet in length, ...

A dark-blue, black abstract interior with chairs and window surround, oil on wood in canvas on a blue frame by Daniel Clesse, painted in France, signed and dated circa in 1970. Dani...

A pair of English neoclassical style carved pine overdoors with swag motifs and dentil molding from the mid 19th century. Each of this pair of English architectural elements features...

A fine vintage Pacific Northwest Native wooden carving. The carving in the form of an hawk with red, black, white, and yellow tones set on a brown wooden board. By William Wasden Jr. Wasden was trained from a very young age in numerous artistic practices of the Kwakwa̱ka̱’wakw peoples including carving, jewelrymaking, and printing. As a high schooler, he began focusing primarily on preserving traditional singing after hearing his grandfather perform. Wasden currently teaches singing in Alert Bay on Cormorant Island, British Columbia. He also heads the Gwa'wina Dancer's Cultural Society, whose mission is to spread authentic Kwakwa̱ka̱’wakw culture & teachings. In Kwakwaka'wakw art, human faces are placed strategically on animal carvings to indicate the creature's supernatural ability to transform into a human form. Kwakwaka'wakw origin myths say that their ancestors were originally animals of various kinds who discarded their animal forms and transformed into humans. Simply a wonderful piece of Pacific Northwest Native art...

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...

A single, antique Portuguese Baroque architectural wall fragment or sconce made of hand carved partly gilded Pinewood, in good condition. Authentic and naturally aged patina. Minor f...

A late 18th Century, antique Swedish Gustavian rectangular wall mirror with its original mirrored glass and blue color paint, made of hand crafted gilded Pinewood, in good condition....

Wooden Micro Carving Plaque by Johann Rint ca. 1880 A small wall plaque with detailed relief carvings worked out of linden wood by Johann Rint ca. 1880....

A French blue, green abstract portrait of books, oil on wood in canvas by Daniel Clesse, painted in France, signed and dated in 1964. Measures: Without the frame: 18" H x 21.5" W x ...

This early 20th-century Flemish low-relief panel showcases the exquisite artistry of pyrography, a technique where designs are burned into wood using a heated tool. Here, two hunting spaniels adorned with studded collars and leashes are meticulously rendered, their lively expressions captured with remarkable detail. Surrounding them is an intricately carved Art Nouveau style frame, adding an extra layer of elegance to the composition. During the latter part of the 19th and early 20th centuries, pyrography experienced a surge in popularity, particularly in Europe and America. Its appeal lay in the ability to create intricate designs with depth and texture, resembling fine etchings or engravings. Pyrography was often employed to decorate furniture, household items, and decorative panels like this one, serving as both functional art and a testament to the skill of the craftsman. Today, pieces like this Flemish panel...

Signed and dated 58 lower left. A textured oil on canvas illustrating a French street scene with market seller's umbrellas along a park. Shops are along the street with figures. Two ...

On a road trip from LA to Seattle, while passing through a small village on the Oregon coast, my fiance and I decided to stop by the Salishan Lodge to view the architecture and the a...

A fine pair of Victorian wooden doors from a horse-drawn hearse or funeral carriage with rectangle glass transoms at the top of each, featuring relief drapery carvings on each in old...

An endearing, wood-carved wall sculpture by William Westenhaver depicting a young boy reading a book. It is made of very grainy wood enhanced on some parts with black, pastel red, b...

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

Painted porcelain and hand carved, gold leaf wood frame, signed "Épanouissement", Vienna, circa 1890.

A late Qing Dynasty period giltwood architectural panel on red ground, with floral motifs, set in new frame. Delve into the rich tapestry of the late Qing Dynasty period with this gi...

French three panel decorative painted canvas folding screen with dogs playing in landscape scenes, perched musical monkeys, and foliage motif. Early 19th century.

19th century oak hand carved framed armorial from England. The central design is of a shield with two wheat shafts, flanked by decorative scrolls, and topped with a regal standing li...

Each hand-carved swag with plump fruit and vegetables nestled among flower heads and foliage.

Pair of small carved walnut doors, 16th century, central Italy This pair of small doors was made in the sixteenth century, in central Italy, in carved walnut. The decoration provides...

Belgium / 16th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic graphic carvings. Hand carved in Belgium in the 16th centur...

Pair of American oil on canvas portraits in the original floral gilt frames and stretchers. South Carolina, Late 18th century. Signed Dr. Anthony Hemingway on re-verso.

Cala Gadir, aterm of Arabic origin which means ‘Valley of water’ is a location known since old times for its natural hot water springs and still nowadays is one of the most well-know...

A fine Franco-German 19th century oil on canvas "Portrait of a Lady" depicting an 18th century young beauty posing with a profile gaze and cur...

An Italian mid-19th century oil on board representing a "Mother and Child". The Renaissance revival style painting in the manner of a Raphaelite Madonna and Child, of a seated young ...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

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

Set of three framed prints depicting Greek glassical red-figure pottery. Left print: Marked: T.XV. - "In Miis. Vaticano - Depicting Apulian Red-Figure bell krater...

Large Carved Solid Teak Long Rectangle Wall Plaque Relief Sculpture Depicting Jangle Villagers.

A Fantastic Pair of 19th C. French Gilt Bronze Roman Solider Plaques of gladiators with Faux Marble Boarders. Each frame is beautifully hand-carved and the bronze medallions are in ...

Important Panel – La Fontaine’s Fable: The Crow and the Fox Repoussé Leather & Dinanderie – Art Nouveau – Circa 1890 A decorative masterpiece of remarkable scale, this panel encapsu...

Three whimsical American folk carved wood art trade signs in the form of straight edge razors. Used by barbers as interior advertisements. Two have...

19th century plaster relief model of the Alhambra by Rafael Contreras Spanish, Late 19th Century Height 70cm, width 45cm, depth 7cm This exceptional plaster relief model captures the architectural splendour of the Alhambra and was crafted by the esteemed Spanish architect and artists, Rafael Contreras (1826–1890). As the official architect of the Alhambra from 1847, Contreras played a key role in restoring the historic palace. Alongside his architectural work, he meticulously produced plaster replicas of the facades he was refurbishing. The model in Mayfair Gallery’s collection showcases a beautifully detailed façade from the Alhambra in Granada. This relief, cast from a mould, highlights an elaborate arched entryway. A finely sculpted polychrome tile mosaic dado surrounds the base, while the arch itself is framed by an exquisite combination of epigraphic, geometric, and foliate ornamentation. Above, three arched windows feature delicate pierced tracery, further enhanced by intricate carved embellishments. A notable feature of this model is the richly decorated entrance inset. Adding to its historical significance, the panel bears the signature ‘Modelos de la Alhambra por Contreras’ in the lower right corner. It is housed in an elegant glazed wooden frame, complementing its refined craftsmanship. The reverse retains a fragment of the original paper label, a hallmark of Contreras’ models, which likely detailed the subject matter for travellers. Additionally, a later stamp from a picture restorer is visible. A superb example of architectural artistry, this antique plaster relief...

A distinguished 17th Century Italian carved wooden panel, showcasing the artistry and craftsmanship of the Baroque period. The panel is meticulously carved with an intricate design f...

Carvings with a military, musical, hunting, or agricultural theme, known as trophies, became popular during the period of Louis XVI. This pair of large trophy panels have Neoclassica...

Louise Gelderblom is a South African ceramic artist known for her distinctive, large-scale hand-built vessels and sculptural forms. Based in Cape Town, she combines traditional craft...

A striking Japonist wall clock crafted in dark carved wood, adorned with inlaid panels of deep green hardstone. The radiating fan-shaped structure is enriched with fantastical and my...

Rustic Continental Black Forest (19th Century) carved walnut wall plaque of game animal.

A set of 3 antique English carved oak foliage panels, dating from the mid 17th century. This charming set of decorative country wall panels will look beautiful in homes of any age o...

Antique Handpainted Advertising Poster for a Hemoglobin Fabrication in Munich A large antique handpainted advertising poster for a hemoglobin fabrication in the 19th century in Muni...

An antique Italian terracotta panoramic wall art plaque marked ‘Rossana 1880’, mounted onto an earlier rustic walnut frame and held in place with metal ties. The terracotta plaque d...

Early Giovanni Battista Piranesi Castel Sant'Angelo Veduti Di Roma Wall Décor . Large 18th Century Etching / Engraving Of The Views Of Rome An Early Print View...

One of a kind pair of beautifully-carved wooden wall sculptures of an African couple. Most probably from a region in DR Congo in Central Africa. One o...

A French carved-wood bouquet wall plaque from the 18th century. This antique wall ornament from France has been fashioned out of a single piece o...

Two English antique ‘Milton’ shields in the style of Elkington English, Late 19th Century Height 82cm, width 62cm, depth 4cm These striking decorative shields are inspired by the ...

18th century Italian gilded and hand-carved wood tabernacle door with natural forming baroque pearls and tangerine quartz crystal points. This door onc...

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...

Antique Hand-Painted Porcelain of Madonna & Child in Hand Carved Walnut Frame, Circa 1900.

Leaves with berries in gilt wood. Hung or used as a paper clip. Very elegant even if it's a fragment. ref. SN

17th century Italian hand-painted ecclesiastical architectural element adorned with carnelian pebbles, gold-plated crystals, blue and yellow raw agate, and b...

Four rectangular wooden molds, carved and framed. The molds show signs of wormholes, with some dated 1836.

These magnificent lacquered wood panels have been mounted together on a lucite panel. Each panel has its original hanging handle. The panels are hanging on antique railroad...

Swedish Wooden Hook, circa 1880s Most likely used for hanging hay and has a beautiful smooth patina. Made out of pine wood. Heigth: 33 cm/12.9 inch Depth: 5 cm/1.9 inch Width: 14....

Wenzel Ulrik Tornøe (Danish, 1844-1907) A very fine and large oil on canvas titled "Systue" ("The Sewing Room"). The finely executed artwork depicting the interior of a sewing room w...

Hand-carved in France, circa 1880, this wooden bracket console features a wonderfully executed winged angel beneath an angular entablature. The innocent visage of the cherub is augme...