Carved Decorative Art

Large handcrafted decorative Indian Mughal Moorish brass tray. Embossed and hammered with floral and mystique animal scenes with Arabic script etched. Large decorative hanging...

A fine French 19th century oil on artist panel titled "The Bather and her Maid" after François Lemoyne (1688-1737) depicting a standing nude maiden being assisted by her maid, within an ornate giltwood and gesso carved frame, Paris, circa 1860-1870. François Lemoyne or François Le Moine or Le Moyne...

English fairground panel We share what we love, and we love this very well carved turn off the century fairground rounders panel/frieze, depicting a...

A Chinese architectural wood temple panel from the 19th century, with floral carvings. This exquisite Qing Dynasty architectural wood temple panel from the 19th century is a testamen...

Sable Wood Wall Plaque – A bold nod to mid-century design, this three-panel wall plaque captures the spirit of the mod aesthetic with its clean lines, cellular cutouts, and sleek pro...

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...

19th Century French walnut hand carved wall decoration. France, circa 1830

A very fine French 18th century oil on canvas "Fecundity" After Francois Lemoyne (French, 1688-1737) Depicting a young mother holding her twin her infant babies on her arms, within a...

Very Large Gobelin with Dancing Turkish Dervishes, circa 1900 A large Gobelin with Turkish dervishes dancing the sabre danc. It is framed in oakwood, Germany circa 1900. Please con...

Large sculptures, 18th century baroque balcony (balustrade) The Baroque chancel that is the subject of this description represents a fine example of art and craftsmanship, dating ba...

Eugène Galien-Laloue (1854-1941) "Theatre du Chatelet" watercolor and gouache on paper signed 'E Galien Laloue' lower left, within a giltwood and gesso c...

A Palatial and Museum quality Italian 18th century Florentine Rococo gilt wood carved mirror frame. The ornately carved frame with scrolls and a...

These elaborate and deeply carved panels are mid-20th century. The carving is very detailed and on a rather deep heavy wooden panel. All the raised areas are richly detailed and gild...

A French carved wood fragment from the early 19th century. This antique wall decoration from France has an overall oblong, just shy of 6.5 feet in length, having a horizontally positioned shape, with a level, wooden top rail draped with several smaller swagged ribbon carvings, and a larger three-dimensional, hand carved swagged wreath in sunflower and foliage motif below, which gathers at center with a bow. This piece has traces of gilt throughout, with remnants of red green paint (primarily along the top rail), and a wonderfully aged patina. This early 19th century French plaque...

Dimensions- H: 26in W: 15 3/4in D: 2in This Pair French Figural Carved Wall Decorations With Sevres Style Plaques are made of the highest quality and have a stunning look! This pair...

19th C. Swedish Carved Pine Wood Clock Grandmother Grandfather Long Case Antique . Freestanding hand carved pine wood clock with all the original mechanics and hardware , weights rack...

Splendid and historic coat of arms in painted wood, embellished with elegant gilded iron finishes. The coat of arms is painted with a faux marble background and features delicate lil...

Vintage Rare X-Large Railroad Train Station Metal Wall Sculpture Signed by Curtis Jere

English oil on canvas horse portrait in burl walnut giltwood and beaded molded edge frame. Signed & Dated by Artist "J. Brown Coventry 1866"

Pair 18th century French neoclassical hand-carved and painted wall sconces ~ Corbels were sculpted from solid oak and feature a timeless classical scroll festooned with acanthus flou...

A rectangular Qing Dynasty period shop sign panel from the 19th century with calligraphy and distressed dark brown patina. Crafted during the Qing Dynasty in the 19th century, this r...

Vintage Shooting Lodge Target Plaque dated 1934. A rare and beautiful wooden shooting target plaque with inscriptions. This rare kings plaque was issued by a shooting club...

Mid-Century Modern Medieval Inspired Bas Relief Wall Decoration in Polychromed Carved Wood. Spain, 1950s. Beautifully hand-carved bas relief depicting genre scene. Two standing men f...

Napoleon III style, sometimes referred to as The Second Empire style, was greatly influenced by the Neoclassical aspects of the Louis XVI period. This giltwood barometer from Paris w...

Embellish your study or library with this elegant antique pair of wall hanging plaques. Carved in Italy, circa 1880, each plaque is oval in shape with scalloped and curved edges, and...

A wonderful pair of large 19th century carved giltwood gothic frames painted with two beautiful Angels in the manner of Fran Angelico, I have never seen these on such a large scale. ...

Bronze wall decoration representing an eagle with wide open wings made of bronze. There is signature JP at the back of both wings. France, circa 1900.

Marie Philips-Weber (German, 1845-1942) oil on canvas "Reading a Book" depicting a young maiden reading a book, within an ornate gilt and gesso frame. Signed: M. Weber Philips (l/r),...

School of Pieter van Bloemen (Flemish, 1657-1720) oil on Canvas "Hunting & Ruins Scene". The capriccio scene depicting two male hunters in robes, on...

A vintage hand done needlepoint of Neuschwanstein Castle, Bavaria, Germany, presented In a regal hand carved gilt wood frame. Neuschwanstein Castle was built in the 1800s and is loc...

Attributed to Charles Edward Hallé (British, 1846-1914) "Mother and Child" oil on canvas. The Victorian era artwork depicting a young mother holding her joyful infant child, within a carved gildwood and gesso frame. (Relined). Signed (l/r): C.E. Hallé, circa 1870. Charles Edward Hallé (British, 1846-1914) Born in Paris, the son of Sir Charles Hallé...

Rare wooden antique garland from the beautiful Val Gardena, authentic '700 period - May be an overdoor , over mirror or over a padded headboard. M/1523.

Superb quality antique micro-mosaic Grand Tour Souvenir of a visit to Rome. set with seven panels, vignettes of Roman views in a shaped slate tablet. and in original frame. Part of a...

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...

An Italian 18th century grand-scale gilded and painted wood pediment fragment. This antique architectural fragment from Italy has a greatly spanning ...

Sculptural 18th century Italian gilded fragment artifact with phantom quartz and mounted on raw agate. The piece originally comes from a historical church ...

'Clementine', A Large Berlin (KPM) Porcelain Plaque After Conrad Kiesel. In a fine pierced giltwood and composition frame. Inscribed 'nach C. Kiesel'...

Large marble figurative relief panel by Pegram English, Early 20th Century Plaque: Height 102cm, width 70cm, depth 9cm Frame: Height 109cm, width 89cm, depth 2cm This bright white...

A large hand carved wood basket of fruit decorative element with silver and gold gilt. Early 19th century, possibly 18th century. The paint is older but not original.

A 19th Century KPM Plaque of Jan Hus at Constance Council, Originally By Karl Friedrich Lessing, with the Original Giltwood Frame. The plaque is expertly framed in a meticulously cr...

Contemporary artistic mirror. Sculptural composition, hand carved. Original creation of materials and colors. Unique piece (One of a kind). By Pascal & Annie Leniau, year 1995.

Contemporary artistic mirror. Sculptural composition in the shape of a face, hand-carved. Original creation of materials and colors. Limited edition, number 7 out of 8. In the back, ...

Animal Sculpture in stock and ready to ship. The frog is made of cast bronze with vedigris patina. The base is a Nero Marquina marble base. Dimensions: w 23 x d 18.5 x h 35 cm w 9....

BYZAS Wall decor Dimensions: Single tile 30 x 16 x 2 cm Materials: Bas-relief in Bianco Carrara marble, hexagons in pink marble polished finish, rhombu...

Antique Russian Orthodox icon of Christ Pantokrator hand - painted with tempera on canvas stretched on wooden panel with velvet textile backing. Icon is covered with original Gilt 8...

Wood sculpture mounted on custom metal stand. In my organic, contemporary, vintage and mid-century modern style. Curated for our one of a kind line, Le Monde. Exclusive to Brendan B...

A pair of Italian 19th century painted wood angel plaques. This pair of antique Italian plaques, perhaps originally used to decorate a chapel, feature a ...

Japanese Edo Period Ko-jo Mask of an Old Man, ca. 1820 Edo Period (1603-1868) DIMENSIONS: Length: 15” (with beard) Length: 8” (without beard) Height: 4” Width: 5.5” ABOUT A Japanese Edo Period (1603-1868) Ko-jo Mask of an Old Man refers to a traditional theatrical or ceremonial mask crafted during Japan’s Edo period (1603–1868). Here's a breakdown of what this object typically represents and why it's significant: The term "Ko-jo" (or Kojo) roughly translates to "old man" or "aged person" in Japanese. A Ko-jo mask often portrays the face of an elderly man, typically with exaggerated age features: deep wrinkles, sagging skin, a long nose, bushy eyebrows, and sometimes a beard. These masks are usually used in Noh, Kyogen, or folk performances, and occasionally in Shinto rituals. In Noh theater, masks are used to express character types, moods, and spiritual roles. The Ko-jo mask might represent a wise elder, a spirit of age and wisdom, or even a deity. In Kyogen, which is the comedic counterpart to Noh, old-man masks are used more playfully, often satirizing elderly characters in lighthearted scenes. The Ko-jo mask may also symbolize ancestral reverence or longevity, tying it to folk beliefs and ritual performances. Edo period masks...

Ceramic wall plaque handmade by Danish artist Jørgen Finn Petersen in the 1960s. Square bowl shape making the item usable as a decorative dish or centerpiece as well as an art piece ...

Stunning Danish midcentury modern Kähler handmade centrepiece, decorative dish or wall decoration with glossy organic floral patterns and turquoise glaze - Kähler's signature color. ...

An assemblage made of several individual elements. A pair of early 19th century of gold gilded carved wood Russian columns. 18th Centur...

A pair of botanical photogravures by Karl Blossfeldt (German, b. 1914 - d. 1932), "Urformen der Kunst", First Edition 1929, Berlin. Mounted in a wonderful pair of chip carved Tramp A...

This 17th century panel painting is a depiction of a praying Franciscan monk, or of Saint Francis. The grey-brown habit, the skull and the book are ...

Carved giltwood wall torchere candle holder, Italy, 19th century-1930s Hand-carved gold gilt wood candlestick sconce with wrought iron details. This w...

A rare pair of mid 20th Century Chinese Famille Rose Porcelain Plaques in Carved Wood Frames. Measures 12.5" in width, 24.25 in height. Great antique condition. Finely carved wood ...

17th century Italian hand-sculpted plaster angel head with coordinating peridot on lucite and framed with natural-forming emerald and mica. The putto (angel head in Italian) has been...

A generously sized wooden tribal mask. Hand-carved and painted this decorative mask that would look great in a western or country themed setting. Measures: 39" High x 5 1/2" Wide...

Transport yourself to ancient Egypt with The Passage, a captivating relief carving of ancient hieroglyphics. This relief carving is encased in an elegant gold and white frame. A re...

Found in the US. Unknown origin. Circa 1910 large hand carved and framed walnut panel. Very intricately rendered work featuring leaves, vines and flowers. This is heavy piece and is...

Orientalist Painting Wall Art Arab Market Scene Dutch G. Huijsser Antique Frame. Very nice oil on cardboard by Gerard Huijsser, Dutch painter, depicting a gathering of people in a or...