Hand-Carved Wall Decorations

The Baule people of the Ivory Coast used ram masks in secular, public performances. Realistically carved, and wonderfully decorated, they were designed to draw attention and enhance ...

Decorative Fine Carved Wood Wall Panel Measures 45" in width, 20" in height

Decorate an office, hallway or powder room with this elegant pair of antique paintings. Created in France circa 1860, and signed on the back (unreadable), each painting is set in an ...

Representing Greek mythology scene with Neptune

Amazingly hand carved church wall bracket with a winged angel sculpture. This stunning and all handcrafted, Gothic Revival wall bracket has the mo...

Adam and Eve Oil on canvas signed below left «E.R. Ménard 1923» Labels on the back, including one from the Carnegie Institute in Pittsburgh, Pennsylvania in 1925. Titled in a cartou...

Belgium / 17th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic carvings. Hand carved in Belgium in the 17th century. This ...

Danish modernist decorative plate / wall decoration / centerpiece with strong graphic decor from the Tribal Harlekin series by ceramic artist Marianne Starck (1931-2007). Shiny bone white glaze with hand-carved sgraffito graphic lines and patterns in raw anthracite colored clay...

Decorate an office or study with this elegant antique painting. Created in France circa 1870 and set in the original carved gilt wood frame, the artwork features a typical French "Fete Galante...

A charming later Victorian textured canvas applied to wood, study of Thomas Gainsborough's three-quarter portrait of the Welsh actress Sarah Siddons, presented in a period Ebonized c...

Pair of very decorative Antique French Carved Pine Panels featuring center medallions with musical instruments, sheet music and floral/foliate motifs. Framed with raised moldings and carved leafy scrolls. Likely door insets from an Armoire...

Black Forest Carved Goat Head with Large Antlers ca. 1900s A large wooden carved Black Forest head of the black-necked goat. Carved with realistic ...

18th century carved & painted symbolic Christian plaque will make a unique and special addition to your devotional display! Hand-carved from fruitwood around the time of the founding...

A antique hand carved tribal carving from the Batak People, northern Sumatra, called a Singa Singa. Attracting our eye with its charismatic presence, this antique hand-carved tribal carving from the Batak People of northern Sumatra, called a Singa Singa, is a captivating example of traditional Indonesian art. This remarkable sculpture, originating from the Indonesian island of Sumatra, embodies the essence of Batak cultural heritage. The Singa Singa, often placed in the corners of traditional Batak houses with boat-shaped roofs, is an iconic image of protection and spirituality. This hand-carved wooden figure features a high forehead and angular traits, highlighted by traces of black, white, and orange polychromy, adding depth and character to its already impressive form. The delicate scrolling décor intricately carved into the figure enhances its visual appeal, making it an exquisite piece of art. Perfect for decorating any wall, this Singa Singa carving can also be mounted on a base, serving as a striking centerpiece in any room. Its riveting presence and intricate details make it an ideal conversation piece, bringing a touch of exotic elegance and cultural significance to your home. With its impressive size and historical richness, this Batak Singa...

Very rare and excellent condition, This all-handcrafted cabinet with a stunning decor of foliate carving and inlaid, Eastern style motifs is completely original and can be used for all kinds of purposes. It must have taken a highly skilled artisan several weeks to design and create this architecture inspired piece of wall furniture. It also comes with Arabic calligraphy on the drawer, but unfortunately we don't know the meaning of the word(s) or phrase. This unique, single door cabinet with its beautiful patina and its marvelous look and feel is as stable/strong as the day it was made and the pair of metal hooks on the back makes it very safe and easy to mount on your wall. If you are decorating a home or business with an Eastern interior then this late 1800s cabinet...

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...

Decorate an office or a study with this elegant pair of antique paintings on copper. Created in Holland circa 1860 and set in their original carved gilt frames, each painting depicts...

Absolutely charming, large wood carving of a young Bavarian girl and sunflower wall decoration This substantial wall hanging is two feet in length, ...

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 pair of handcarved mid 17th century oak wall panels with a handsome, even patina and string for hanging. Each are of beautiful quality after more than 370 years and well-carved for...

A large 19th century Chinese carved wall plaque in wood features a hunting tiger on rocks with bamboo trees and the sun in the background. ...

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

Hand-carved from Italian limestone, this coat of arms plaque with crown and eagle features both bas- and mid-relief motifs. Bas-relief is a sculptu...

An antique carved and painted architectural panel from the 19th century, with rinceaux motifs. This exquisite 19th-century carved and painted architectural panel captures the eye wit...

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

Decorate an office or a study with this elegant antique painting on canvas. Created in Holland circa 1860 and set in the original carved gil...

Hang pots and other kitchen utensils on this elegant antique shelf. Crafted in Normandy, France circa 1860, the Louis XV wall hanging piece features a bo...

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...

Modern Black Forrest Carved Walnut 6 -Point Deer Shoulder Mount Switzerland, Circa 1960s Enhance your space with the timeless elegance of this Modern Black Forest Carved Walnut 6-Point Deer Shoulder Mount. Originating from Switzerland and dating back to the 1960s, this piece represents a fine example of the revered Swiss Black Forest carving...

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,...

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 ...

Collection of worldwide traveler's hand carved folk art masks, circa 1940s - 1970s, possibly earlier. We purchased the estate of an Atlanta Coca Cola executive, who traveled the worl...

This is a work board that was used in Japanese private homes and farmhouses from the Meiji to early Taisho period (1868-1920). The material is cedar or pine. It is a tool that was us...

American oil on board landscape of young lady standing by rabbit in foreground with the original molded pine frame and wood backing. Early 19th century.

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 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...

Hand-carved in the United States in the early 20th century, the focal point of this double picture frame is the stylized naval insignia. Both glass frames, which fit 6 x 4 photos, currently contain a pair of near antique black and white postcards (they are included). The frame on the left has a print of a circa 1930 George Harris photograph of the USS Constitution, aka “Old Ironsides”. The frame on the right has a lithograph of a full rigged windjammer (commercial sailing boat) that was originally printed in the early 1900’s. The two frames are positioned splayed outward so that the bottom of the frames meet in one point. Both frames are adorned with leaves and rectangular borders with diapered background. The outside bottom corners are each conical volute scrolls with fluted embellishments. At the top of the frames, a large eagle is presented displayed, wings elevated (wings spread wide with the tips pointing upward). The eagle is perched upon a shaped shield with stars and stripes, in the style of an early American flag...

Crafted in France circa 1880 and set on a colorful plaid background fabric, the elegant framed shield features the coat of arms of Canada. Hand carved in solid fruitwood, the detailed Blason is in excellent condition with a rich walnut patina; decorate a man's office or study with this fine antique crest! The Arms of Canada also known as the Royal Coat of Arms of Canada is, since 1921, the official coat of arms of the Canadian monarch and thus also of Canada. It is closely modeled after the royal coat of arms of the United Kingdom with French and distinctive Canadian elements replacing or added to those derived from the British version. The maple leaves in the shield, blazoned "proper", were originally drawn green but were redrawn red in 1957 and a circlet of the Order of Canada was added to the arms for limited use in 1987. The shield design forms the monarch's royal standard and is also found on the Canadian Red Ensign. The Flag of the Governor General of Canada, which formerly used the shield over the Union Flag, now uses the crest of the arms on a blue field. The arms are embossed on the covers of Canadian passports, in order to legally signify and symbolize that the bearer is traveling under the aid of the Crown of Canada. A Mari Usque Ad Mare (English: From Sea to Sea) is the Canadian national motto. The phrase comes from the Latin Vulgate translation of Psalm 72:8 in the Bible: "Et dominabitur a mari usque ad mare, et a flumine usque ad terminos terrae". (King James Bible...

Oversize and spectacular 19th century Black Forest carved wood trophy wall plaque with a large fish. Beautiful carved border with acanthus leaves. Measur...

Vintage Shooting Lodge Target Plaque dated 1934. A rare and beautiful wooden shooting target plaque with inscriptions. This rare kings plaque was issued by a shooting club...

A single, antique Italian wall panel made of hand carved limestone, in good condition. The rectangular architectural relief is depicting Roman warriors and kids embracing a cattle. A...

Stunning and completely original, antique oak grandfather or lantern clock, circa 1750. This very old grandfather clock is one of the tallest w...

19th Century Tramp Art wall hanging rack with carved crossed sticks and carved rosettes on one side.

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...

A lovely pair of vintage Italian gilded wood wall brackets or shelves from Florence, Italy, circa 1950. These stylish brackets have hand carved scroll designs and beautiful gilt pati...

Antique Baroque Black Forest Deer Head Late 18th Century Item e7402 A lovely carved wooden Black Forest deer head. Hand carved in typical abstract baroque style. It features a real d...

Exceptional large massive hand carved and hand painted decorative element which was placed over a grand fireplace more than 150 years ago. There were no restorations so far and it is...

Pair of Mid-20th Century hand-carved and polychromed wall shelves.

Redwood bas relief tile panel designed and created by Evelyn and Jerry Ackerman of Los Angeles, California. Panel measures approximately 9" by 9" by 1....

Very Decorative Early 19th-century French Provincial Plate Rack. Made of richly patinated chestnut with small decorative turned apple wood spindles and brass nail decorations. Typica...

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

A wonderful, intricately carved, heavy work depicting a religious figure, likely a catholic saint offering his blessing (We have been told that this may...

A very large and most impressive carved wood relief of a head of a Buddha. The stunning sculpture has interesting details. The panel once hung in th...

Miniature Portrait Painting of Napoleon signed by Prévost from the nineteenth century. The frame is in solid mahogany and is dished and...

A lovely pair of vintage Mid-Century Italian gilded wood wall brackets shelves with a hand carved seashell design. They are perfect for displaying decorative collectibles or fabulous...

A 19th century French Provençal fariniere, or decorative box made of walnut with fine hand-carved decoration of a large flower urn. Waxed patina. This...

Stunning Witco inspired modernist abstract hand carved/hand painted wall sculpture plaque by Bosko Hrnjak. The sculpture is titled "Strip" and i...

This Beautiful 19th century bas relief carving depicts a portrait of Venus and a cherub, framed beautifully in a gilded wood Rococo frame. The...