Hand-Carved Decorative Art

This is a set of 4 panels of Chinese open carved wooden panels. They were made from Camphor wood which has its unique fragrant and keep the bugs away, solid and sturdy. It features beautiful detailed open carved Chinese traditional...

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

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

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...

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...

Pair of Pyrographed Panels – The Seasons: Autumn & Winter – Art Nouveau, France, circa 1900 An elegant Belle Époque diptych, this pair of pyrographed panels delicately embodies the...

17th C Neapolitan School Painting Oil Canvas Old Master Mola Giovanni Battista . Circa 1600’s important Painting Oil on Canvas painting of a boy with a bird, in original Hand carved...

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

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...

Winter Landscape Snow Scene Country Road Painting Oil on Canvas Framed Argnegger . Late 19th-early 20th century winter landscape / snow scene, by...

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...

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 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...

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...

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....

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

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.

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.

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...

Hand-Carved Wooden Relief with Framed Flower and Leaf Decoration.

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...

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...

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

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...

THE CROW OF THE COCK. Unique work and very decorative. Cock and Sun ceramic wall panel. Made by a R. MAREZ, French ceramist based in Vallauris ( South of France ). Amazi...

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 ...

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.

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...

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.

This intresting piece is a Key board in shape of three monkeys Creator: Herta Baller (Maker*in),Walter Bosse (Designer*in) At the end of the 1940s, he developed brass miniatures in t...

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, ...

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 ...

Extraordinary modernist item by Swedish Tilgmans Keramik. Fully glazed centerpiece or wall decoration depicting a green faced woman with long stemmed yellow and blue flowers on a striped dark blue background created with the sgraffito technique. Manufactured in 1957 by German/Swedish Paul Harald Tilgman in his workshop in a small town close to Gothenburg in Sweden. Blue patterned glaze on the sides and muted blue leaves on the milky white glazed base. Signed and dated on base. A rare and unique piece in beautiful condition! Sweden, 1957. About Tilgmans Keramik: Paul Harald “Harry” Tilgmann was born in Dresden, Germany in 1904 and emigrated to Sweden during WWII where he started Tilgmans Keramik (= Ceramics) in 1948 in the small town of Utbynäs close to Gothenburg. Tilgman had 16 employees working for him and when he hired the Polish refugee Marian Zawadzki (1912-1978) as artistic director in 1953, Tilgman Keramik started experimenting with the distinct sgraffito technique. The sgraffito technique consists of carving fine lines into the background of a design through a light coloured glaze down to a dark grey clay slip. This created a unique textured ground which has become a style associated with Tilgmans Keramik in particular. The decorative elements also appear to be outlined with a carved line and then hand painted with overglazes where birds, fish, flowers, butterflies and other animals were a common theme. This type of work was the most popular in Mid Century Sweden alongside Tilgmans small animal figurines...

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...

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...

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

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...

A rare Meiji period 1868-1912 iron and mixed metal panel by a highly important early Meiji period artist. The ironwork panel housed within its original hardwood frame depicts the charming subject of a roaster fighting with snake, this particular early Meiji period panel demonstrates all the skills of a leading Mito school metalworker more used to making tsuba and sword fittings for the shogunate and now adapting his unique skills to satisfy the emerging western market, the naive charm and inspiration for this study is probably from an earlier Japanese or even Chinese painting, artists with such breathtaking metalworking skills as this artist could simply replace an artists paintbrush...

Mounted in an Oval Ebonised Frame From our collectables we are delighted to offer this Italian Grand Tour Micro Mosaic Spaniel ‘After the Hunt’ after Antonio Aguatti and Gioacchino ...

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...

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...

Large Scale Michel Choqueux 'Leaf' Carved Wall Sculpture, France, c. 1950's A carpenter and cabinetmaker from father to son, living in Neuvy-au-Houlme (Orne, Normandy), Michel Choqu...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

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...

Set of four. Dore bronze. Profiles are bisque on velvet. Finely chased details. Possibly 19th century.

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 ...

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...

This magnificent pair of antique Italian life-sized hand-carved marble figures depicts Romeo and Juliet, the young lovers in the famous play by William Shakespeare. One figure show...

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...

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....

An unusual pair of Mid-Century Modern framed base reliefs depicting a man and a woman dancing, dating from the 1950’s, the pair reflect the festive and happy mood after WWII. Carve...

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...

Wax relief depicting a vase with flowers Italy, mid-19th century Signed "Scot. inv et fecit" Measures: 37 x 44 x 7,5 cm.  

Set of 10 African women's heads carved in wood in a tribal style. Great decorative effect in any decor. Some of them with metal ornaments in their hair or around their necks. Earring...

American sampler under glass with the original gilt Birdseye maple molded edge frame, Early 19th Century. Signed by maker Mary Ann Browning, Age 12.

A Chinese Qing Dynasty period linden wood signboard with calligraphy with stunning age-related patina. The wood carved signboard showcases a pair of couple written by a younger juni...

This large antique folk art hand carved wall hanging is unsigned but presumed to have been made in England in circa 1880 in the Victorian style. The wall sculpture commemorates the Royal Mail stagecoach which was used for long distance mail delivery in the mid-1800s. The carving is very intricately executed and depicts the Royal Mail coach...

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...

Beautiful Pair Of Chinese Famille Rose hand painted porcelain Plaques Depicting Immortals In Rosewood Frames. Measure 14.5" in width and 14.5" in height.