Carved Wall Decorations

Antique - Decoration - 19th Antique carved wooden wall console, dating from the 19th century. Measures : 60x28,5cm H:47cm Material: Carved wood. Decoration: Baroque motif "mascaron f...

19th Century Neo-Renaissance oak wall bracket with veneered curved panel. Wonderful and perfectly hand-carved, this all handcrafted Neo-Renaissance wall bracket has the most strikin...

A Large Continental Oil on Canvas "The Prohibited Reading " after Karel Ooms (Belgium, 1845-1900). This beautiful executed painting depicts a historical scene of an old man and a young woman who are huddled over a bible. The pair is gazing in apparent concern or alarm, over the old man's shoulder, towards something outside of the picture. The scene is likely set in the 16th or 17th century when Protestants were prosecuted, amongst others, for reading the bible in the vernacular, a practice prohibited by the Catholic Church at the time. Signed (l/r) A. Ribas 15-12-913. Within a giltwood carved frame. circa: Probably Belgium, 1913. Karel Ooms was born in Dessel on January 27, 1845 as the youngest son of a large peasant family. At school his extraordinary talent for drawing was discovered. When he was twelve his hometown provided financial support which allowed him to study at the Antwerp Academy of fine Arts. One of his teachers at the Academy was Nicaise de Keyser, one of the key figures in the Belgian Romantic-historical school of painting and a painter of mainly history paintings and portraits. After graduating from the Academy 1865 Karel Ooms was welcomed with pomp in his home town Dessel. He painted two altarpieces for the local church Saint Nicolas, to express his gratitude to his city. Karel Ooms settled as an independent artist in Antwerp around 1871. He quickly established a reputation as a portrait painter. In addition, he received commissions for religious paintings and history paintings. He gained particular recognition with two large paintings...

Another stunning hand-painted oil on canvas work of religious art. This antique oil painting was first hand-painted on canvas and later mounted onto a zinc backplate .. a traditiona...

An Extraordinary Pair of early 20th century carved wood Panels depicting the Four Seasons. Tall narrow unpainted panels with high relief carved decoration with motifs of the Four Sea...

A French 19th Century Louis XV style mirror, carved in Pinewood with Gesso finish and gilded, in good condition. The frame has the typical Rocaille décor. The antique mirror has its ...

An extraordinary Portuguese door from the early 19th century, fitted onto a custom wall-mounted cabinet for a unique storage option across rooms and decorating styles. Below a steppe...

A striking relic of Northern European Gothic artistry, this carved oak panel from Belgium, circa 1500s, embodies the austere geometry and devotional symbolism of the late Middle Ages...

A striking example of traditional European hunting decor, this vintage roe deer trophy features natural antlers mounted on a finely hand-carved Black Forest wooden plaque. The dark-s...

Vintage Wooden Base Trophy Mounting Plaque for Deer Skull Item e7561 A carved wooden plaque for trophies with ornate carvings of acorns and oak leaves. Hand-carved in Germany in the ...

Vintage Wooden Base Trophy Mounting Plaque for Deer Skull Item e7560 A carved wooden plaque for trophies with ornate carvings of acorns and oak leaves. Hand-carved in Germany in the ...

A Belgian framed oil on canvas painting by Charles Van den Eycken (1859 – 1923), depicting two dogs in an interior. Created in Belgium during th...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

More information coming soon… The carvings of this French overdoor panel have great depth, most noticeably the dog’s head and the two lobed finials flanking the hunt trophy that ado...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) Masterpiece "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

American Victorian style (20th Century) oil painting on canvas depicting a black steamship with American flag in carved gilt frame.

Pair of carved giltwood wall consoles or bracket shelves, Spain, 1930s. Carved Wood, Giltwood, Gold Leaf Antique Spanish Neoclassical Revival Giltwood Wall Brackets. These stunning o...

A fine antique roe deer antler horns hunting trophy on a carved black forest plaque, dated 1906. The plaque is hand carved with oak leaves, acorns, and branches and was found in an o...

An antique wall relief in white Statuario marble of rectangular shape featuring a mythological scene, in good condition. Minor fading, scratches du...

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...

Five Stations of the Cross Miniatures, 'Via Crucis' Religious Wall Composition, Spain, 1930s From the Northern part of Spain. A set of Five Crosses of The Way of the Cross: Each stat...

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...

Gustavian Swedish 18th century plate rack with original gorgeous rosemåling painting, circa 1800, origin: Northern Sweden.

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

A large Italian ceiling panel made of hand crafted Walnut, enhanced with caryatid and acanthus scrolls, in good condition. The antique wall relief, décor represents the Rococo time period...

Swedish, 19th century corner cabinet with the most incredible carvings and lively blue interior that belies the humble pine construction. The quarter-round shape of the cabinet tucks...

Globally sourced and carefully curated, the Le Monde collection of furnishings, home decor, sculptures, mirrors, wall panels, pots, vases, bowls, and other accessories celebrates cul...

A great looking hand carved original wooden Folk Art Statue. A great piece for a suitable ambiance in a Cabin room or the office of a Hunter or Woodsman. More than likely one of the ...

An associated or 'collected pair' of second quarter 19th century British Colonial, Anglo-Ceylonese / Anglo-Indian carved ebony wall brackets / shelves / sconces of large scale having...

This is a wooden woodblock produced in Japan from the late Edo period to the Taisho period (about 1800s to 1920s). The material used is something like beech wood, and the wood is dec...

Old Master John Linnell Landscape Collector Painting Oil on Canvas Museum Art. “The Barley Field” By John Linnell 1874 / Oil on Canvas / 1792-1882 / English . SIGNED and DATED at the...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

A piece from the 'Delta' abstract sculpture series by James Rowland made from Brazilian wood Caxeta dyed with watercolor paint. Scottish Artist and fu...

An English oil on canvas painting signed C. Goddard, depicting a horse and hound dogs. This English oil on canvas painting, signed by C. Goddard, presents a serene scene of a white horse and four hound dogs gathered in front of a stable. The grouping suggests a sense of companionship and belonging among the animals, with the horse tethered...

A collection of antique Statuary Carrara marble chimneypiece/mantelpiece tablets from the 18th and 19th century’s. The collection consists of 41 carved elements, including centre ta...

This antique Chinese horizontal sign board made during the 19th century displays Chinese characters carved in wood in a splendid calligraphic style. The frame is enhanced by red and ...

Top quality, hand carved nutwood eagle clock with Lenzkirch movement. An exceptional and rare late 19th century Black Forest wall clock of monumental size, featuring a superbly hand...

Great Wooden Carved Plaque with Stag Family, Brienz 1900s A great walnut wall panel with an artistically carved scene showing a family of stags in t...

This is an exquisite, carved wooden polychrome figure of Christ on the cross, 18th Century, most probably Italian. This rare carving very closely follows in the tradition of Giambolo...

Charming antique French miniature oak Brittany cabinet with richly hand-carved details. Brittany, France

Antique Hand-Carved Wooden Eagle Mirror with Crescent Glass Item e8168 This decorative wall mirror features a finely hand-carved wooden eagle, captured in a dynamic pose with outstre...

English 19th century oil on board painting depicting two setter-type sporting dogs in a natural landscape setting. The composition shows the pair moving alertly through tall grasses,...

A large last half of the 19th century French Baroque style stained, painted, and parcel-gilt wall bracket of unusual bisected cornice form having stained chestnut shelf above compoun...

Small in size, but glorious in design, craftsmanship and presence. This remarkably well-made antique cabinet dates from the earliest years of the twentieth century and combines stro...

This is a tropical fish carving frame made in Japan, probably around the 20th century. The frame is made of beech wood, and the base of the picture is paulownia wood. Different types...

Meaningful and highly expressive hand-carved wooden crucifix, dating from approximately 1930–1950. The beautifully stylized figure of Christ is entirely hand carved from solid oak a...

An antique textile printing blocks originating from a silk manufacturing workshop in Lyon, France. Carved from wood and inlaid with fine metal pins, these blocks were used for hand...

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...

A very Fine and rare French 19th century Louis XV style giltwood carved Vernis Martin Stylefl fireplace screen. The rectangular carved giltwood panel surmounted with four circular oil paintings...

Large Antique Black Forest Carved Cuckoo Clock with Stag Head A large handcarved wooden cuckoo clock, decorated with hunting accessoires, oak leaves, hare, pheasant and a stag head ...

A pair of 17th century oak panels depicting wyverns. These hand carved English oak panels show a pair of Wyverns, spiralling into foliage The...

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

An exceptional early 19th-century Italian carved wood architectural panel, featuring an intricately detailed acanthus leaf relief motif. Expertly hand-carved, the panel showcases the...

This powerful mid-17th century French crucifix, carved in walnut circa 1650, exemplifies the raw devotional intensity and expressive realism associated with early Baroque religious s...

A very fine French 18th-19th century oil on canvas portrait of a posing lady with flowers, in the style after Jean-Marc Nattier (1685-1766) within an ornate gilt wood carved frame, c...

Monumental carved giltwood baroque wall bracket, with carved foliate scroll and putti motif. An unusually large wall bracket.  

19th Century French hand carved and hand painted in light beige wall decorative panels in Louis XVI style in very good authentic condition with no restorations.

A hand carved late 18th/19th Century mythological marble Satyr mask with horns, weathered patina in good condition. The hand sculpted Italian Carrara marb...

An amorphous and sensual early piece by Pioneer Wood Artist Mark Lindquist. Signed and dated '74 along one edge. A carved amorphous natural wood form wi...

A Mid-19th Century, antique rectangular French wall relief with a garland and decorated with fruits and foliage hand carved in limestone, in good condition. Authentic and naturally a...