Carved Wall Decorations

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...

Vintage track and field sign from the early 1970s. Hand painted red sign with yellow lettering. Taken down from a California high school. Horizontal wo...

Beautiful hand carved wooden cherub angel head, found at an estate sale in Nuremberg, Germany. We believe that this piece is from the mid-20th century, probably older. A nice addit...

Belgium / 16th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic graphic carvings. Hand carved in Belgium in the 16th centur...

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...

Large antique 19th century Genre Portrait of a boy by listed artist Adolf Heller, (German , 1874 -1914) A beautifully executed portrait that captures the ...

Reminiscent of a late 15th century coat of arms, this double eagle cartouche plaque has been hand-carved in limestone in Italy. A square top shield wi...

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...

Wow! Incredibly Rare Mid Century Modern 8 pointed Star Wall Sculpture Moroccan Art Large & Impressive 32" wide This is a marvelous and rare example of Moroccan artistry and arts ...

Large impressive Eastern European Folk Art carved Cedar panel. Large panel feature mythical creatures and symbols. Mermaids, Sirens, anchors,...

Exquisite & most rare! This French Art Nouveau wall shelf designed by art nouveau grandmaster Eugene Gaillard circa 1900. Superb organic design...

18th Century Oil on Canvas Heraldic Funerary Hatchment Painting, Memento Mori Painting, Vanitas Skull Painting, Vanitas Painting. A large high quality 1...

An English 19 th century oil on canvas of horse and jockey painting in carved gilt wood frame. This 19th c English oil on canvas is a 19 th c...

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...

Beautiful and more uncommon in this large size, a 12 inch Gong! Long period brass chain and handle are attached. Cast iron wall mounting plate bolted on wood panel for temporary hang...

Mid-Century Modern Unique Wall Decor Piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. The Unique wall decor is a tribute to individuality, embracing t...

American Victorian oval oil painting portrait of lady in black with cameo in gilt filigree carved frame.  

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

An older small scale mask carved and painted white (now worn) with painted blue and black features and a black top knot. Marked on interior tape, “Yoruba”. The Mask with good age, fa...

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 ...

Decorate an office or study with this elegant pair of antique paintings. Crafted in France circa 1870, the artworks hand painted on board, are set inside the original beautiful carve...

Elevate your decor with a stunning pair of Italian carved giltwood eagle wall sconces or shelves. Meticulously crafted, these majestic eagles showcase intri...

Lovely Bakery Pie Hand Carved Folk Art Sign. The Age of it is not certain, it was a barn find. It´s a hand carved and painted sign. This pie-shaped sign is such a charming piece—it r...

Add charm and character to your interior with this expressive antique French oil painting. Created circa 1880, the scene depicts an elderly monk playing a violin, seated with a sheet...

Pair of 18th-Century English Carved Oak Panels with Mystic Dolphins A fine pair of early carved oak panels, English, 18th century, richly worked with a central motif of stylised dolp...

Stunning, solid oak coat rack with rare wildlife scene. In the beginning of the 20th century only very few people would have ever seen an elephant in real life. Since artists such as painters, carvers, sculptors and all other kinds of crafstman starting traveling the world they would come back with memories and impressions that they incorporated in their work. The craftsman who created this unique coat rack...

Gilt wood sunburst mirror made in Italy during the middle of the 20th century. Layers of rays protrude out from the round mirrored center in strait and squiggly lines.

Pair of tiger and lion Art Deco framed paintings. Oil on panel. Beautiful carved wood frames.

Add a noble touch to your study or library with this elegant 19th-century heraldic plaque. Crafted in France circa 1870, the antique wooden shield features a beautifully hand-painted...

This atmospheric antique French oil on canvas painting, dating to circa 1870, presents a beautifully rendered forest clearing opening toward a shimmering lake and distant mountains, ...

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...

2nd Century Italian Stone Sculpture Roman Relief Aristocrat Mounted Antiques LA . Hand Carved Stone relief Aristocrat mounted on marble Private collector . ...

Wall Decoration Art Pair Silhouettes Black Framed Antique Los Angeles Gallery . Pair of silhouettes portrays the 19th century Lady and Gentleman With his Hat. This pair has been well taken care of and has minor wear consistent with the age. Wall art Silhouette of a Lady and a Gentleman framed in possible hand carved pine wood or fruitwood Frame. Charming elegant profile depicts high status man at ease with himself ensured his place in hierarchy looking sharp and same goes for the Lady holding what appears to be a document. The subjects are dapperly dressed with his top hat in his hand, trimmed haircut, leather boots and the lady with a nice Hairdo and an elaborate dress. An original continental French or British silhouette in a period fruitwood light color frames and are beveled. Antique dealer Los Angeles West Hollywood La Cienega Melrose Ave. The watercolor and paper cut silhouettes...

Olive green Chinoiserie George III hanging corner cupboard dating to the late 18th century. In excellent condition. Original dark, olive green painted finish embellished with painted...

The loss of craft at its purist form due to economic circumstances of the last centuries. Going back to basics in a chaotic world where social media takes over. Where expectations an...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

The loss of craft at its purist form due to economic circumstances of the last centuries. Going back to basics in a chaotic world where social media takes over. Where expectations an...

A moving devotional work in the manner of 17th-century Italian Baroque painting, this 19th-century oil on canvas was created in Italy circa 1870 and depicts the Holy Family with the ...

A pair of French Louis XIV period late 17th century carved cherub appliques from Strasbourg, with scrolling design. Born in the Alsacien city of Strasbourg in 1690s (which was annexe...

French Vintage Embroidered Picture "Beautiful Rose" in a Golden Frame from the Mid-Century. This lovely artwork features a stunning hand-embroidered rose motif in soft colors, set w...

This vintage ANRI Carl Spitzweg wood carving is a beautiful piece of art that captures the essence of a wedding proposal. Crafted circa 1960s, this relief carved wood figurine is a t...

Antique Military Oil Painting, Antique Military Portrait Painting, Military Antique Painting, Prussian Hussar, Prussian Military Painting. Early 19th Century Military Oil Painting...

Pair of 18th century Irish Georgian water-gilt gold leaf curtain pelmets. They are from a stately home in Ireland and they have intricate and detailed ...

Antique Black Forest Roe Deer Trophy on Carved Plaque Item e7317 A great antique abnormal roe deer (Capreolus capreolus) trophy on a wooden carved plaque. The trophy was shot around ...

19th century hand colored print of the Noddleburn of Glasgow, which was a three masted sailing cargo ship. The ship went missing in 1895 on its voyage to Chile, transporting a shipm...

Sculptural canvas relief with a 17th century Italian Florence fragment by Elena Rousseau. The sculpted canvas is molded together with fresco plaster, g...

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...

17th century style Interior Still Life, English School A well executed 20th century work on canvas. A colorful interior still life depicting a seated white dog with raised paw resti...

A magnificent pair of antique Moorish corbels, hand-carved in wood and richly polychromed. Their architectural design, with interlaced arches and geometric details, reflects Mudéjar ...

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 ...

Discover the rustic charm of this 18th-century French hand-carved oak chestnut grinder, elegantly mounted on a custom wall mount. Hailing from the picturesque countryside of Normandy...

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...

Add historical charm and sculptural interest to your interior with this impressive pair of hand-carved French wall plaques, crafted in oak circa 1780. Each plaque takes the form of a...

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

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

Oil painting on wooden canvas, accompanied by a carved and gilded wooden frame, decorated with geometric and floral motifs. In the center, the scene depicts a battle, with two main c...

This elegant 19th-century oil portrait presents Adam Franz Bernhard, Baron von Hirschberg (1783–1864), Lord of Ebnath and Schwarzenreuth and Royal Bavarian Lieutenant Colonel. He is...

This large Sun face in gold leaf gilded wood is a burst of design and elegance.

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 ...