Carved Wall Decorations

Decorate an office or den with this antique serene maritime landscape painting. Created in Holland circa 1895, and set in the original carved giltwood frame, the large painting is attributed to Herman Willem Koekkoek...

Italian 19th century oil on canvas titled "The Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and umbrel...

A Pair of 19th Century Carved Giltwood Rococo Wall Brackets. Both are decorated with an asymmetric pierced foliate design featuring richly carved rococo C scrolls interspersed with f...

1910/M, I hope You can understand what it is from some photos only. Museum quality antique sofa, coating with an authentic Aubusson old tapestry: every...

A rare 16th Century Italian stone Corinthian half-capital, carved in Ligurian slate, mounted on a simple wrought iron bracket for wall hanging.

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 set of 3 late 19th century antique architectural elements handcarved in the Georgian style. This group comprises of three different pine drops, the two smaller of a similar design ...

Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...

Heinz Pinggera (Italian, b 1900) "A Recital for the Cardinal" oil on canvas within a gilt-wood and gesso frame. The interior 18th century rococo scene depicting a seated Cardinal or ...

1950s Carved Wood African Mask Chip in the back as shown

Solstice, sculpted wood panel made with Douglas-fir wood is a piece from Etienne Moyat, represented by Galerie Negropontes in Paris, France. Etie...

Asian-style Koi fish Wall Sculpture beautifully handcrafted in a red cherry wood carving capturing the fluid motion of Koi fish swimming upstream. Each fish is intricately detailed, ...

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

19th century French painted paper and mother of pearl fan, shadow-box framed antique ladies fan, made of mother of pearl with a hand embellished re...

This fine old painting is a typical pastiche of the kind popular throughout Italy and the world in the 17th, 18th and 19th centuries. The most commonly associated artist who really m...

Unique and large sculpted ceramic wall plaque made by the French ceramic artist Mithé Espelt (1923 - 2000). Matte black background, enameled decor with rooster and sun in turquoise,...

An Italian Baroque style fruitwood wall bracket from the late 19th century, with carved putto figure. Born in Italy during the later years of the 19th century, this fruitwood bracket...

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

Unique and large Victorian rifle rack with width open box at the bottom. This highly decorative and good condition gun rack for wall mounting could look great above your fireplace, but also in a private library, home office or trophy room etc. The beautifully patinated, light nutwood combined with the four strong and all handcrafted brass weapon holders make this victorian antique hunting piece an impressive sight to see. If you are not into hunting, but you simply love the great look of this finest quality rack then you could also use this stylish antique for various other purposes. You could, for example, also have rare swords...

19th Century Regency Mahogany Lawyers Bookcase Wall Cabinet Biotech, 1811-1819 . Rare early 19th century Regency graduated lawyer’s bookcase cabinet . Tapered scale 13" depth to 17" at the base, which gives it a lot of charm and takes away the heavy look of some other bookcases. All the original hardware still intact in lions head knobs with a ring This antique library bookcase has the original glass with one cracked that we never replace . Each shelf opens upward. 4 Regular size and the shelf on top of the Two lower drawers is for larger items to be exhibited and stored away. Perfect for a library, lawyers office...

Carved wood hand painted donation / offering ALM Box, Spain, 18th century. Polychromed carved wood church collection offering donation money box as wall decoration. Wall hanging collection / donation money box. Originally used to collect donations at Christian churches/chapels. Interesting to be used as key box or key cabinet or as wall decoration Rare find. Provenance: Private collection. No key avaliable. Overall Measures: 46 cm H x 31,5 cm W x 14 cm D Poor box...

19th century French Louis XVI style gilt and painted wood barometer. While not in working order, barometer has that wonderful old 'chippy' peeling patina. The carved wood frame and g...

A finely rendered equestrian portrait, this early 20th-century American oil on board captures the striking presence of a chestnut racehorse standing in its stable. The animal is pres...

A CHINESE DEEP-RELIEF GILT & LACQUER WOOD PANEL 19th Century. Depicting a court scene carved in deep relief, red and black lacquer highlighted with gold later framed. Extremely col...

American gilt carved wood and gesso Eagle with extended wings perched on decorative acanthus floral motif, Early 19th century.  

An antique carved teak architectural panel from the 19th century, with floral and foliage décor. This antique carved teak architectural panel from the 19th century captivates with it...

Stunning, 'geometrically-circular' layered and timeless Art Deco style wall sconces. If you are looking for a stylish and timeless way to bring light into your entry hall, bathroom,...

Her poetic porcelain plates examine and reimagine the history of art in a way that values ​​women not only in body, but in wholeness, power, and love. Focusing on the narrative quali...

An antique 19th century Indonesian carved wooden panel from a temple entrance, with scrolling foliage. Only one of the panels in the photo is now available. Crafted in the 19th centu...

A pair of French vertical carved wooden panels from the late 19th century, with ribbon-tied floral bouquets and urns. Created in France during the last decade of the 19th century, ea...

Large Antique Taxidermy of a Water Buffalo, Austria ca. 1900 A very large stuffed African water buffalo (Bubalus arnee) from a noble estate in A...

A dark-blue, black abstract interior with chairs and window surround, oil on wood in canvas on a blue frame by Daniel Clesse, painted in France, signed and dated circa in 1970. Dani...

Great Deer Trophy Mount on Wooden Carved Plaque Item e6895 A large antique deer (Capreolus capreolus) trophy on a wooden carved plaque with black finish. The trophy was shot in 1959....

This standout 19th-century oil portrait captures the quiet elegance of a German lady. She is dressed in a deep navy gown with a delicate white lace collar and a golden brooch. She em...

A very fine French 18th-19th century oil on canvas portrait of a posing lady with flowers, after Jean-Marc Nattier (1685-1766) within an ornate gilt wood carved frame, circa 1800. ...

A Swiss Carved Black Forest Hunting Wall Plaque, Early 20th Century Provenance: Private New South Wales Collection. Description: The shield surround centred by a hi...

Pair of Wall Panels – Antelopes – Michele Original for Space Age Products, Rhodesia, 1970s Striking and rare, this vintage pair of wall panels powerfully and elegantly captures the ...

Handcrafted and very stylish pair of midcentury made alabaster 2-light (up & down) wall lights. If you are looking for a great shape and practical size pair of sconces to grace yo...

Silvio Poma Landscape With Shepherds oil on canvas painting depicting a dirt road in the middle of a tree-lined countryside with farmers grazing a flock of sheep. On the left side of...

A custom made display of 100 antique wooden child's spinning tops made between 1880's and 1960's. Multiple colors shapes and sizes. The spinning tops can be arranged however you desi...

Antique and unique wall coatrack with amazing alabaster carvings. It is not often that you find an antique that is not completely original, but where they have done a great job in creating a, so called, marriage that simply looks beautiful. This handcrafted wall coat rack was made around 1900-1910, but the exeptionally detailed, hand carved alabaster tiles date back to circa 1850-1870. These mis-Victorian works of beauty are hand-carved in deep relief and both the fruits in the vases as the scrolling leaf patterns in the center tile are among the most detailed we have ever seen. All three tiles have no breaks in them and only minor losses. So if you are looking for a unique antique wall rack...

A rare, early 1960s stoneware Wall Sculpture by famed Japanese-American potter Teruo Hara for Design Technics. Signed on the lower right with Hara's TH chop mark along with the DT ch...

Set of three original hand-carved letterpress made by the Neal Walters Poster Company. Fantastic carnival midway scene. Games, carnival rides and acrobats. Carved with incredible detail, please see photos. The colors are the original ink used during the three color posted printing process. Circus and...

Danish mangle board (clothing and bedding press) dated 1814. It is made from oak wood which is hand carved and richly decorated abstract geometric flowers and branches with leaves a...

Antique Polish Icon of The Great Martyr Theodore Stratelates (our best hypothesis). Our purported Antique Polish Icon of the Orthodox Icon of Saint Theodore the General, Commander, S...

Leaves with berries in gilt wood. Hung or used as a paper clip. Very elegant even if it's a fragment. ref. SN

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

This antique oil on canvas painting by Théodore Levigne (1848–1912) captures a tranquil riverside scene at sunrise, as a herder leads cattle and sheep along a winding path beneath go...

Constructed from salvaged antique wood that has been reinforced with more recent boards, this large-scale coat of arms shield has an outward curve, reminiscent of the bend of a real ...

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 ...

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...

This exceptional pair of Italian console shelves from the 18th century that exude elegance and grandeur. The intricate design and craftsmanship of these shelves are a testament to th...

A female torso sculpture wall art piece that calls on references of Renaissance paintings and academic ceramic sculptures. This female body piece explores historic interpretations o...

Wooden Micro Carving Plaque by Johann Rint ca. 1880 A small wall plaque with detailed relief carvings worked out of linden wood by Johann Rint ca. 1880....

A beautiful replica of a 18th Century French gold gilt barometer. Wonderfully ornate, carved wood frame with gold gilt and painted surface that will add a touch of elegance to any home.

A fine unique wooden sculptural wall decoration. Hand Carved motifs, made by a Danish Cabinetmaker in the 1970s. Nice texture and dimensions in this vintage piece, it can be used as ...

Pietro Gabrini (Italian, 1856-1926) a very fine and large oil on canvas "Three Singing Italian Beauties on The Road" depicting three cheerful Village young maidens walking through a ...

A late Qing Dynasty period giltwood architectural panel on red ground, with floral motifs, set in new frame. Delve into the rich tapestry of the late Qing Dynasty period with this gi...

Our Two Dice Set features two 6cm wooden dice with delicate malachite inlays. Elevate your game nights with these stylish, handcrafted gems. Celebrating the exquisite art of woodwork...

Michele Antonio Rapos (Turin 1733-1819), Still life of flowers and fruits, Oil on canvas frame: cm H 133 x W 124 x D 8 (canvas: cm 108.5 x 108.5) The painting depicts a triumph of ...