Carved Wall Decorations

An English oil on canvas painting of a terrier dog head from the 19th century in carved gilded frame. This endearing English oil on canvas painting from the 19th century captures the...

Japanese hand-painted silk artwork depicting a seated concubine in an intricate kimono, framed in a custom giltwood frame. This vintage piece captures a quiet moment of contemplation...

This is a beautiful hand carved and gilded mirror frame. It is a dramatic wall hanging with a stunning depth of more than 3 inches. The circa 1880...

A great looking hand carved original wooden Folk Art Wild Boar head wall decoration. A great piece for a suitable ambiance in a trophy room or the office of a Hunter or Woodsman. Mor...

An early 20th century Louis XV style French estagnier from Provence. This lovely wall mounted shelf was used to display pewter or ceramics. Made of solid walnut with beautiful hand c...

16th Century Oil Painting on board of the Holy Roman Emperor III by circle or school of Hans Burgkmair the older (1473 - 1531). Portrait of the Holy Roman Emperor Frederic III. (1415 – 1493). Oil on wooden panel. Described top right. In later attractive European gilt frame with black & gilt inner decoration, circa 18th Century. Hans Burgkmair was a German woodcut...

Early 20th century, good size Art Nouveau wall clock. This antique weather station hand carved and stunning Art Nouveau clock has a beautiful...

Neoclassicism was a movement in history that was inspired by culture from classical antiquity, specifically the ancient Roman and Greek Empires. In France, this movement coincided wi...

Antique Black Forest-style German hand-carved linden wood deer head on a carved wall plaque. An impressive antique hand-carved wall-hanging deer head made of linden wood with wooden ...

Large wall mounted console table or shelf in the style of Serge Roche made in France in the 1950. Scrolled and hand carved wall brackets made out of Plaster holding the taupe color ...

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

Early 19th Century French Vanitas Oil Painting on Canvas. The Old Master Vanitas Still Life Painting depicts a skull, book and rosary. Oil on canvas, lined. Unsigned. In gold gilt period frame. Very well painted, attractive & highly decorative Vanitas skull...

A Black Forest period German wall carving from the 19th century depicting a hunting trophy. A striking relic from the 19th century, this Black Forest period German wall carving serve...

Wood marquetry wall mounted albatross sculpture by American artist Emile Norman. The sculpture features geometric square and rectangular strips of varying...

An antique Italian frieze panel with flowers, vines and leaves, made of hand crafted Oakwood in good condition. The vertical door features two hand crafted round metal door pulls...

A round, antique French large dimensional clock face with its original metal clock made of hand crafted painted Wood from the Napoleon III period. In good condition, enhanced by deta...

English 18 century oil on canvas of horse and jockey painting in carved giltwood frame. This 18 th c English oil on canvas beautifully depict...

Italian Renaissance style still life of fruit with gold serving pieces displayed in front of a green drape in a gilt carved frame Condition: Good; Wear consistent with age and use

A French framed oil on canvas still-life painting from the 19th century depicting fruits. Born in France during the 19th century, this exquisite still-life painting depicts an abunda...

Coppia di Medaglioni in Legno Intagliato, tondi scolpiti con Profili di Cavalieri, Guerrieri con elmo piumato, puntali e visiera alzata. Di forma circolare, entrambi i bassorilievi o...

An antique rectangular mirror inscribed in a Pinewwood frame, gilded, the pediment formed by an openwork flower basket spilling sinuous gar...

Matched pair of bas-relief plaques in the neoclassical style crafted from molded plaster with terracotta patina, depicting a goddes among the clouds, surrounded by angels in flight.

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...

A light-brown, vintage Mid-Century Modern Italian wall mirror with its original mirror glass, enhanced by brass nailheads, designed by Paolo Buffa in good condition. The backside of ...

More information coming soon… Hand-carved in the style of Black Forest, this oval French from the 1800s depicts a pair of recently felled birds suspended from a partial branch by a ...

18th century Italian gilded church tablet adorned with faceted diamante stones. It reads, "Tabella dei Signori Amministratori del Santissimo Sacramento" which means, "Table of the Lo...

Pair 1920s or earlier Moroccan wood and mother of pearly inlay wall shelves. These wonderful Múdejar design shelves feature abstract geometry, horseshoe and multifoil arches, and honeycombed vaults called muqarnas supported by miniature columns.

Giltwood acanthus leaf wall bracket. Vintage gilt wood console of Corinthian form with projecting shelf for display. Italy, 20th century. Dimensions: shelf is 10” wide x 5” deep; 11" H

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...

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...

A pink-white, antique French still life oil on canvas painting depicting a working table with a yellow teapot vase with flowers, painted by Eugène Henri ...

Contemporary abstract wooden "VERVE" wall-mounted sculpture created by circular sawing, sandy-white painted on white-stuff. Signed Christofer Kochs, 2019 Due to the exaggerated leng...

A master-level painting surrounded by a thick and detailed gold leaf frame, this large oval oil on canvas has an impressive scale for a nature morte (still-life) painting. The painting, which dates to circa 1850, is by an unknown, yet extremely talented French artist. In stark contrast to the dark gray background, the subject of the painting is a brightly colored floral bouquet. The vibrant flowers (blue, red, yellow, pink, and white) reside in a brown woven basket that sits atop a stone baluster railing. A cluster of darkly colored grapes is strewn across the top of the railing, next to the basket, as two butterflies flutter above the bouquet. If you look closely, you will even see a third butterfly perched on one of the large green leaves that accompany the irises, carnations, and sunflowers. The equally impressive original frame is adorned with rings of beading, foliate rinceaux, and spiral fluting, with a deep convex molding carved with additional fluting. In 19th-century France, an entire school devoted to floral still-life paintings emerged, located in Lyon, which was the capital of floral design. Although originally still-life art was classified as unimportant, acceptance by art historians of the 20th century elevated the public opinion of nature mortes. A painting such as our large and striking oval floral...

This charming oil on mahogany board depicts a portrait of a young woman in typical early 19th-century fashion surrounded by foliage while she sits on a rock tending to her shoe. Hous...

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...

A great looking hand carved original wooden Folk Art Dog head with glass eyes, wall decoration. A great piece for a suitable ambiance in a trophy room or the office of a Hunter or Woodsman. More than likely one of the Folk Art items made between 1860 and the late 1890s. In remarkably good as found condition with only a few small paint lost on the trophy plaque. Found at an estate sale in Wels, Austria. We think this will be a nice addition to your Collection of Black Forest items...

Amazingly wall crucifix with hand carved corpus from Kunstwerkstätten der Abtei Maria Laach. Over the decades we have sold a number of unique and interest...

Another finely detailed early 1900s carved crucifix and corpus of Christ. This sacred and religious work of art is a hand-carved out of pinewood Christ mounted on an oak cross and t...

Rather small size wall telephone model 305 with detached earpiece, made in 1918 by L.M. Ericsson & Co, Stockholm. Size app.: 45 cm (roughly 17.7 in) high, 23 cm (roughly 9.1 in) wid...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Pair of English Regency Chinoiserie Exotic Wall Brackets with Gilt Orb Tassels England 20th Century This exquisite, large-scale pair of English Regency-style Chinoiserie wall brackets, made in the 20th century, embodies the exotic elegance reminiscent of the famed Brighton Pavilion. Each blackened and gilt bracket showcases a scalloped demilune...

A large and impressive late 19th century Jacobean style decorative oak wall hanging panel, handcarved with three ornate arches, neoclassical columns, dentils and geometric patterns throughout. Formerly a fireplace overmantel...

Wonderful and deeply carved Victorian wall bracket Corbel. This all handcrafted, Victorian masterpiece has the most wonderful shape and patina. The organic shape and the natural flowing of the deeply carved, acanthus leaf is an absolute joy to behold. Apart from some minimal imperfection (consistent with age), this top quality carved, solid oak bracket from the mid-19th century is in great condition. This fine antique can...

A French Napoléon III period framed architectural oil on canvas panel from the mid 19th century, with Allegory of the Arts and rinceaux motifs. Created in France at the beginning of ...

Stunning design and top quality executed antique barometer. This late 19th-early 20th century, English manufactured wall barometer has everything that makes an antique worthwhile. F...

English Regency style plum pudding hardwood wall bracket/ shelf. England, Circa 1900s. A single substantial carved plum pudding hardwood wall bracket/shelf, large enough to hold a c...

Belgium / 17th century / sculpted panel / oak / Gothic / Rustic / Antique A rare Belgian 17th century grotesque sculpted panel. Hand-carved with floral and foliage decorations with ...

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...

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...

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). This Louis XV style black marble an...

Good size and great looking Gothic Revival bracket for displaying a statuette. This Gothic console for wall mounting dates from the early 1900s and it has the most timeless design a...

A great looking hand carved original wooden Folk Art chamois head wall decoration. A great piece for a suitable ambiance in a trophy room or the office of a Hunter or Woodsman. More ...

Italian Renaissance style (modern) oil painting of Madonna & Child in antique gold carved frame

English Victorian carved rectangular gold floral embroidery on black background with oak and ebonized carved frame

Decorate a game room or a study with this large and colorful pair of antique plaques. Crafted in southern Italy circa 1920, each bombe panel features "Trompe l'oeil" scrolled and sca...

An antique matching set of deep set first finish giltwood frames having foliate decoration and housing portrait prints of young children, signed and numbered, 19th century. Measures...

large French trophy panel, glorifying the attributes of agriculture, that was hand-carved in bas relief during the 1900’s. Trophy plaques became popula...

An antique English Tudor period oak panel dating to circa 1590, deeply handcarved with three large foliage scrolls and flowers. Over 430 years old, this oak wall panel has stood the ...