Wood Decorative Objects

19th century hand carved oak case with carved capitals on full length waist columns and bracket feet, 90 day brass time only movement with deadbeat escapement and maintaining power t...

Very nice Hand carved Black Forest Wooden Bear ,Glass Eyes ,

Pair of Chinese Thousand Flowers Porcelain Figural Vases  Late Qing Dynasty (1644-1911) A stunning pair of Chinese Thousand Flowers Porcelain Figural Vases from the Late Qing Dynast...

Circa 1850-60 Tunbridge Ware Tea Caddy Box, English. Featuring Eridge Castle on the lid. Two interior lidded wells for tea. Old label on bottom: Eridge Castle, Sussex. Micro mosaic b...

This large mid nineteenth century marquetry box from the Napoleon III period features a burl thuya wood field surrounded by a concentric border of intricately inlaid ebonized pearwoo...

A large hand-carved iron wood eagle perched on a tree stump and surveying the surroundings ready to fly. Hand carved wood vintage extremely detailed bald eagle perched upon rockery with glass eyes. Hand carved Ironwood Southwestern seri...

For your consideration, a small, handcrafted wooden box, likely a jewelry or keepsake box, featuring a domed lid and various wood types. The box has a polished finish that highlight...

A fine quality antique Regency period Chinese Export Lacquer Work Sewing Box, Circa 1820. The box having a hinged lid that is sumptuously decorated with a gilded design of Imperial...

Here is a lovely Florentine hinged box made in Italy. Usually boxes of this style are quite small--made for trinkets--but this is a on the larger side measuring 14.25" at its widest....

Mid-20th century ship's clock by Schatz, Germany. handsome brass, mahogany & ebony in the form of a ship's wheel. Bevelled glass set in locking bezel. Double bell strike. Runs 8 days...

VINTAGE FORAGING TRUG An unusual example with a wirework lid that can be fixed closed, originally designed to stop the live snails escaping! Could now be used for its original in...

Stoneware soup tureen with lid and ladle. The ladle is a combination of stoneware with a wood stem.

Paolo De Poli Enamel Box – Attributed to Gio Ponti, Italy, Circa 1950 This exceptional Mid-Century lidded box is a rare and collectible work of Italian design, meticulously crafted b...

Michael Elkan Box in Live Edge Maple Burl American Craft Movement 1980s This is a truly wonderful trinket or jewelry box in maple burl made by renowned American Craft Movement wood ...

This cylindrical vase celebrates the graphic lines and the contrast of the essences. In maple and cherry, it was first assembled and then turned by Coralie Le Borgne in Lyon (France)...

Rare decorative driftwood toteme sculpture in a wabi sabi and brutalist style with a black stained foot. In good condition. Dimensions: H: 140 cm / 55" W: 25 cm / 9.85" D: 20 cm / ...

This is an old Japanese natural wood Shokudai (candlestick). It was made in the late Edo period (1860s-1900s), and the material used is probably coniferous cedar wood. The texture o...

A teak and brass candelabra designed and produced in Sweden, c. 1950s. Holds three 0.75” diameter candles.  Overall Dimensions (inches): 5.0"H x 4.875"W x 4.875"D All items ship f...

Beautiful natural Liana vine sculpture surrounding Acacia tree. Organic naturally occurring Liana vine growth coiled around an Acacia tree. Naturally we...

Stylish cabin decor antler candle holder with deer carving, Germany ca. 1900 A fashionable rustic candle holder, made of antlers from the deer. The spout is made of turned antler pi...

Vintage Italian large footed music box in pink color with top finely hand painted and wood inlaid with Italian lute and foliages floral decor, brass hardware, 2 compartiment inside a...

About as fine as they get, this large Burr walnut cigar cabinet is a magnificent quality box beautifully made. Each corner has a carved column with a polished brass base and brass...

20th century hand carved folk art wooden cat form sculpture or statue. Features a knockdown design with elegant form. Features pointy claws, curled tale an...

Pair 17th Century Large Italian Baroque Gilded Carved Candlesticks Torchieres Magnificent carved and gilded floor Torchieres, early Baroque from Tuscany, Northern Italy. Each is exq...

A fun solid mixed woods puzzle box with double gravity lock, circa 1999. The piece is in very good vintage condition and measures 6"W x 3.25"D x 2"H. ...

Movimento wall-hanging sculpture of solid wood, designed by Joaquim Tenreiro. 1970's Measurements W 41.25'' x D 3.50'' x H 17.50''

Nice mellow patina on this 18th century English mahogany tea caddy with three interior compartments. Two end sections have incised geometric carved lids. Tapered all around from top ...

The Priora box is designed to provide an exquisite storage solution for small items. Fashioned from glossy ebony, each box is distinguished by an elegant detail in Corno Italiano and...

A Wooden and very beautiful Antique Rice Carrier that it lacquered in red. The piece is a compliment to many settings and spaces. This could be used as...

This exquisite Art Deco copper box, designed circa 1930 and signed by Manning Bowman, is a striking example of sophisticated craftsmanship from the Machine Age. Known for their high-...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

19th century English Regency Mahogany sarcophagus form tea caddy with satinwood and holly wood seashell inlaid top. The flame mahogany top framed by twin...

You are viewing a collectable antique chronometer by J. Sewill of Liverpool Circa 1880 on this amazing marine antique The chronometer is housed in ...

A large and impressive turned centerpiece bowl by Edward Moulthrop. Made of figured sweetgum wood and signed on the bottom. It's big at 14" diameter and 9.5" in height.

Decorative Freeform Bissilon Wood "Art" Vessel by Emil Milan, circa 1960's "beautiful color and wood grain" "in good vintage condition" "oiled with food grade mineral oil" See last...

Sculpture Stormtrooper Blue Helmet Butterflies with original blue Stormtrooper helmet in matte blue resin ornamented with Morphos butterflies (no cites required for this butterfly). ...

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

A decorative handmade orange bone and black tribal design chest or jewelry box. The chest interior is leather and features gorgeous brass inlay design with natural decorative stones.

Small Baroque frame, lacquered and gilded. Openwork wooden frame richly carved with leaf subjects. Italy, 17th century.

Marble look wooded colomn plynth or pedestal. Elevate your decor with our elegant white pedestal featuring a classic column design. This striking piece serves as a perfect display s...

A pine candelabra designed and produced in Sweden, 1970s. Holds 0.8” diameter candles

Vintage organic natural coconut wood condiment set complete with tray and spoon. Set of vintage coconut wood salt & pepper bowls on stand, petite lidded bowls with spoon. These handc...

Fine antique George III inlaid mahogany eight day longcase clock having a shaped swan neck pediment above an arched glass and mahogany door flanked by reeded columns, satinwood inlai...

Beautiful and very large sculptural wood bowl by acclaimed American woodworker, Emil Milan. This bowl is hand carved from Bissilon, a dense wood f...

Spanish Rococo Giltwood Frames with Flowers Paintings Giltwood Double Oval Hanging Frame with Pink Flowers Painting and Bow Ribbon Details. Spain, 1940s. These stunning oil on canva...

Double Tiered Pull Out Shelves From our Jewellery Box collection, we are delighted to offer this rare, unique Coromandel Tiered Jewellery Box by George Betjemann. The Jewellery Box ...

Whimsical carved figure of skin diver , spear fisherman . Decked in wet suit with spear gun and fresh catch . Hand carved in Italy late 1960s into the ...

E. HOWARD STYLE No. 4 SINGLE WEIGHT DRIVEN BANJO WALL CLOCK Here we are offering a Howard No. 4 style single weight driven banjo wall clock. It has solid brass built 8 day time onl...

A lovely antique 19th Century French Boulle Style Mantle Clock. Recently serviced and working well, this clock features a faux tortoise shell veneer and bronze gilded accents around the entire clock. Enamel roman numerals are featured on the clock face overlaying a nicely detailed gilded face. Signed "LEPAUVRE ROUEN" on face. Some minor loss to the veneer as seen in the pictures. Some of the gilded overlay is peeling up in some minor areas as seen in the pictures. The Lepauvre Rouen enamel...

Fine 18th century rococo carved and giltwood shelf clock, the crest with stork holding a bone in his beak pearched on a romantic castle ruin with carved...

Danish modern catch all, desktop pencil tray. Great for a pen, pencil, watch holder or keys. Solid teak with a great stance. Denmark, 1960s.

Framed Persian Miniature Painting in Moorish Micro Mosaic Inlaid Marquetry Frame – Indo-Persian Artwork Stunning Middle Eastern Persian miniature painting, exquisitely hand-painted and framed in a vintage Moorish micro mosaic inlaid frame. This collectible piece showcases the refined elegance of Islamic art, merging the rich traditions of Persian miniature painting with the intricate craftsmanship of khatam marquetry. The finely detailed painting depicts a 19th-century royal polo scene, featuring royal princes dressed in traditional Maharaja attire riding horseback in vivid, vibrant color. The square-shaped frame is masterfully handcrafted using the ancient Persian technique of khatamkari, a meticulous form of micro mosaic inlay. This time-honored art form utilizes tiny slivers of wood, bone, and metal to create delicate geometric and floral Moorish designs—reminiscent of works found in the Doris Duke Islamic Art Collection and other notable museum holdings. The micro mosaic inlay, also known as Sadeli work, is a rare and highly sought-after craft, especially when combined with the luminous detail of a Persian miniature. This piece is a true testament to Indo-Persian artistry, offering both visual opulence and historic significance. Features: * Antique handcrafted Moorish frame with geometric Islamic design * Persian miniature painting on shell with royal polo scene * Museum-quality Indo-Persian craftsmanship * Frame dimensions: 13" x 9.25" * Ideal as a collector’s piece, wall décor, or focal point in any sophisticated interior * A rare fusion of Islamic, Persian, and Indian decorative arts circa 1950s. Perfect for collectors of Islamic art, Middle Eastern antiques, or enthusiasts of fine marquetry and micro mosaic inlay, this piece brings historical richness and unparalleled craftsmanship to your space. Keywords: Persian miniature painting, Moorish micro mosaic frame, Islamic art, antique Indo-Persian marquetry, khatam inlay, Sadeli mosaic, Middle Eastern artwork, royal polo scene, Maharaja painting...

Museum quality and meaningful work of religious art. This beautifully finest hand carved and large size Sacred Heart of Christ statue is another one of our recent great finds. In ou...

A hand-crafted sculpture specimen of natural red coral branches mounted on a 18th century giltwood urn fragment base with sea shell trim.

Antique 1940s Mosaic Shell Inlaid Decorative Middle Eastern Islamic Box. Mosaic Luxury Decorative Middle Eastern Islamic Vanity Box. Middle Eastern Asian Mosaic Wood Box with Inlays ...

A very nice Comtoise Morbier tall clock in a floral paint decorated Pine case, France - late 19th century. Rings on the hour and two minutes after the hour...

Snipe bird sculpture Italy 1970s brass wood.

French Art Deco Carved Walnut Fruit Tray, France, 1920s — Floral Décor Multi-Use Centerpiece. This elegant French Art Deco fruit tray from the 1920s is crafted in richly toned...

Handcrafted Turned Burl Wood Weed Vase, 20th Century.

The high-tech look that arose in the 1980s and which is still potentially current had an ingenious predecessor. Over half a century ago, Eileen Gray anticipated the cool Industrial a...