Hand-Carved Decorative Art

An antique pair of coat of arms, hand painted in the Gris de Versailles technique on antique bulging outward Pinewood shields originating from a Tuscan estate, in good condition. The...

An antique Portuguese wall relief or sopra porte made of Pinewood, in good condition. The Baroque wall panel was hand carved and is richly ornate wi...

An antique pair of Portuguese Baroque hand carved architectural wall reliefs, enhanced by richly ornate detailed scrolls, in good condition. Original painted patina with partial gilt...

An antique pair of Italian Baroque architectural wall reliefs made of hand carved party gilded Pinewood, in good condition. The detailed richly ornate wall panels are enhanced by the...

A hand carved white marble panel with geometric starburst and design Jali. This handcrafted architectural panel can be used as a table top, light diffuser, open air windows, privacy ...

An antique Italian pair of Baroque architectural wall reliefs made of hand carved Pinewood, in good condition. The detailed panels are particularized with richly ornate leaves. Authe...

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 set of hand carved white marble panels in a floral Jali with geometric flowers and design. This handcrafted architectural panel can be used as a table top, light diffuser, open air...

An antique pair of Portuguese Baroque hand carved Pinewood architectural wall reliefs with richly ornate detailed scrolls, Acanthus leaves and masks, in good condition. Original pain...

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...

Majestic entrance or fireplace wall mirror with shelf. When we first saw this stunning antique mirror we immediately knew we had to have it. Also, because we felt this rare size an...

20th Century Chinese pair of long hand carved teak panels decorated with bats, birds and frogs in a very vivid way. Very good original condition without restorations.

Wishing Wanders and Rain or Shine, Diptych, 2019 by Alex Hodge Carved porcelain Overall size: Height: 9.5 in x Width: 26.5 in x Depth: 0.5 in Wishing Wanders: Height: 9.5 in x Width...

Stunning and almost 4 feet tall, Egyptian Revival wall sculptures. This rare and striking pair of hand carved Egyptian sculptures is another great example of the quality of the craf...

Madonna with the Long Neck, 2019 by Alex Hodge Carved porcelain Height: 7 in x Width: 7 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of a...

Wishing Wanders Carved porcelain 9.5 inches x 13.5 inches x 0.75 inch Unique Her poetic porcelain plates examine and reimagine the history of art in a way that values women, not on...

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

Lead with the Heart, 2019 by Alex Hodge Carved porcelain 16 H in x 12 W in x 0.5 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that value...

Stairway to Nowhere Girl, 2019 by Alex Hodge Carved porcelain 11 H in x 6.2 W in x 0.75 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way tha...

Antique, exceptional and unique wall mirror. Via one of our foreign contacts we recently purchased this perfectly realistic grapevine wall mirror. The stunning and unique mirror fra...

Here's a 650round clock for your wall. It's built from tough hackberry wood, and the clock face is smooth with clear marks for hours and minutes. To make it look even fancier, the c...

Earnest Eve, 2019 by Alex Hodge Carved porcelain Height: 12 in x Width: 8 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art in a way th...

Wishful Thinking, 2019 by Alex Hodge Carved porcelain 12 H in x 7 W in x 0.5 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that values wo...

Earnest Eve and Heights to Reach, Diptych, 2019 by Alex Hodge Carved porcelain Overall size: 12 H in x 15 W in x .05 D in Earnest Eve: 12 H in x 8 W in x .05 D in Heights to Reach: 1...

Rain or Shine, 2019 by Alex Hodge Carved porcelain Height: 9 in x Width: 13 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art in a way ...

Antique French hand-carved oak wood wall plaque with cherub's head, ca. 1900. An adorable Baroque-style hand-carved dark brown oak wood wall plaque or wall decoration depicting a hea...

TULIP DESIGN WALNUT WALL CLOCK Custom sizes, colours and finishes are available! Here's a 50 inches round clock for your wall. It's built from tough walnut wood, and the clock fac...

Mountain of a Woman, 2019 by Alex Hodge Carved porcelain Height: 15 in x Width: 9 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art in ...

Hand carved, ecclesiastical wall sculpture from the mid 1800s. With antique church relics being one of our specialities, we have seen the Virgin...

Optional Omniscience, 2019 by Alex Hodge Carved porcelain Height: 10 in x Width: 10 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art i...

Supporting Perspective, 2019 by Alex Hodge Carved porcelain 11.5 H in x 7.5 W in x 0.75 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way tha...

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 ...

Curled Girl, 2019 by Alex Hodge Carved porcelain 11.5 H in x 7 W in x 0.5 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that values women...

Wall Panel / Headboard in Walnut, Spain, 1940s This architectural wall panel features beautifully handcarved foliage details thorough. To be used as wall decoration or headboard. Te...

Heights to Reach, 2019 by Alex Hodge Carved porcelain 11.5 H in x 7 W in x .05 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that values ...

Rattling Cages, 2019 by Alex Hodge Carved porcelain 10 H in x 10 W in x 0.5 D in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that values wom...

Room in a Room, 2019 by Alex Hodge Carved porcelain Height: 9 in x Width: 13 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art in a way...

Reach Out, 2019 by Alex Hodge Carved porcelain Height: 8 in x Width: 12 in x Depth: 0.5 in Unique Her poetic porcelain plates examine and reimagine the history of art in a way that...

Step back in time with our Late 19th Century painting, a treasure in good condition and a testament to the artistry of the past. Signed in the bottom corner, this piece carries the a...

Stylish and beautiful antique wall bracket with large hand-painted & glazed porcelain tile (marked and numbered on the back, see image 10). If you are looking for decorative and stylish antiques and you have a space to fill on your wall then this very rare bracket could be ideal. What makes this good size shelf stand out from others is the stunning handcrafted large tile with colorful floral painting...

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...

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...

A green-brown, vintage Art Deco French oil on canvas painting of a slightly cloudy, sunny day at the Longchamp horse racing track, painted by Eugène Pechaubes in the original wooden ...

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 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...

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 Ma...

Presenting an exquisite piece of artistry, "Girl wearing a green jacket," an oil on canvas creation by the talented Russian artist Alexej Harlamoff (1840–1925). This painting encapsu...

One of a kind and marvelously hand carved wall sculpture, mid-1800s. For the collectors of only the rarest and the most original. Over the decades we have seen some beautifully cr...

An antique rectangular mirror inscribed in a Pinewood, gilded frame adorned with water leaves and pearl friezes, in good condition. The mirror is consisting its original mirror glass...

19th century hand carved armorial. The plaque is shaped as a shield and carved upon it are a knight's head with plumes of feathers in his armor, over ...

Exceptional and unique, 3 feet tall, Gothic Revival wall barometer, circa 1890. This unique antique from the second half of the 19th century, in our view, is the dream of anyone with a Gothic (inspired) interior. This design could not be more Gothic and to have found a barometer of this size and with this many Gothic details, again, felt like a blessing. And even though we had to pay-up to be able to acquire it, when you find an antique that is this rare and good then you should always try to buy it. This monumental and solid nutwood antique barometer is entirely hand carved and, as you can see in our photos, the workmanship is second to none. This work of Gothic wall art is perfectly symmetrical and we love the fact that only the large church pilars are carved in a different pattern. This rare design feature, to us, shows the creative nature of its designer. We also love the many Gothic church spires on top and the way this entire 'composition' is superbly balanced. There also is small 'ledge' underneath the barometer and thermometer, possibly for displaying some small sculptures. The only downside would be that the inside of the barometer/thermometer is not squeaky clean. Maybe it is easy to open the front of the barometer, but we have no experience with that. Have you also noticed the amazingly detailed Gothic leafs at the top of both the large pilars? They too display the amazing workmanship of a seasoned craftsman. Besides the enormous height and width, what also makes this rare barometer truly impressive is its depth, because this almost gives you the idea of looking at a magnificent barometer through 3D glasses. All these top quality and impressive details together make this Gothic barometer...

Antique hand carved walnut wall plaque fruits and vegetables, Germany, early 20th century. This absolutely gorgeous masterfully carved wall decoration from the early 20th century fe...

A red-yellow, antique French still life oil on canvas painting depicting a working table with a dark-blue vase with flowers, painted by Eugène Henri Cauchois in a hand carved, origin...

A white-green, vintage French still life oil on canvas painting by Michel De Saint-Alban in a hand crafted, original gilded wood frame, i...

Absolutely stunning walnut room divider featuring gorgeous hand carved floral motifs on each section. Sure to make a statement in any room of the home or office. Folds to a convenien...

A rare antique finely worked French barometer with lyre shaped crest thermometer above a large hexagonal framed barometer. The Parisian décor piece is m...

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...

Large plato shelf by Antrei Hartikainen Materials: maple, natural oil mix Dimensions: W 75, D 10, H 3,5 cm Also available: different sizes. The surface of the moon is the in...