Hand-Carved Wall Decorations

Old Master John Linnell Landscape Collector Painting Oil on Canvas Museum Art. “The Barley Field” By John Linnell 1874 / Oil on Canvas / 1792-1882 / English . SIGNED and DATED at the...

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

TERRITORIO 2.3.74 - V We worked with paper pulp for the first time a few years ago. We were testing ways of optimising the recycled paper until we achieved an almost clay-like pulp t...

Sculpted from walnut, Galaxy II is an exceptional wall-mounted sculpture that exhibits the skill of artist and master woodworker Michael Coffey. It is ...

These stylish and elegant, hand sculpted, Pair of Carved Wooden Wall Sconces bring a classic look to any home decor setting. It’s the perfect...

A rectangular, antique pair of similar German Baroque wall reliefs with centered cartouche, made of hand carved sandstone in good condition. The large detailed panels are particulari...

Portugal / 1850 / 2 wall panels / oak / Rustic / Mid-century Two large beautiful hand carved Portuguese decorative wall panels from an altarpiece with nice patina. Crafted of solid ...

Hand carved wooden Indian panel with flowers. Perhaps it was once painted because it still bears traces of color in the carving of the flowers. Teak wood is not woodworm. ref. M/214.

Splendid oil portrait on canvas of a gentleman in uniform, identified as Professor Moses Bosisio, mayor of Monza, who died in 1846, as reported on a plaque on the back of the paintin...

Anna Belle (2008) Emulsion and oil on screen 7 x 9 ft Hand-carved frame with integrated lightbox + remote Meet Anna Belle. She’s got the kind of stare that follows you across a ro...

This is a finely carved late 18th century Italian frame featuring traditional carved and gilded neoclassical elements. The frame is in remarkably good condition considering its nearl...

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

An antique elongated wall relief in white Statuario marble featuring Euterpe the Greek Goddess of muse of lyric poetry, in good condition. Minor fading, scratches due to age. Wear co...

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...

Amazing and hand carved pine wood corner shelf, depicting Amphictyonis, the goddess of wine. The Greek god of wine Dionysos or Bacchus as he was known in Rome, probably is much be...

Our French Oil Painting is from the 1700's depicts the Biblical Story of Rebekah and Abraham's Servant, Rebekah is seen offering water to the servant and his camels as a true test of...

19th century French Framed, Carved and Painted Panel is a superlative decorative element that was hand carved by a particularly talented sculptor out of dense, old-growth white oak. ...

Wall Panel / Headboard in Walnut, Spain, 1940s This architectural wall panel features beautifully handcarved foliage details thorough. To be used as wall decoration or headboard. Te...

A great looking hand carved original wooden Folk Art Bear Statue. A great piece for a suitable ambiance in a Cabin room or the office of a Hunter or Wood...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

Set of Four Panels Decorated with Allegories of Arts France Circa 1865 Height. : 180 cm (70,9 in.) ; Width : 63,5 cm (25 in.) ; Depth : 12 cm (4,7 in.) Set of four large painted panels, in carved and gilded wood. The upper part of each panel is decorated with allegories of the arts, representing music...

Large 47 inches Vintage, hand carved walnut French wall shelf. Numbered item made in France exclusively for Bloomingdale in the 1960s. Very good ...

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

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...

The Victorian Rococo giltwood top of mirror frame is hand-carved with flowers, leaves and scrolls. The centre oval contains two birds without stretched wings and a nest and eggs...

Wabi-Sabi Assemblage: Tofu Grinder Sculpture with Mitsogo Mask Indonesia & Gabon, Early 20th Century This striking sculptural assemblage unites two objects from different tradition...

Last 4 of an original set of 16 wall fixtures. Set of four really large and great looking, half-moon shape, easy to mount and beautifully handcrafted alabaster wall lights. In all ...

Display a bust or a vase on this elegant antique wall corbel; crafted in Italy, circa 1760, the large gilt wood wall bracket features hand carved scroll and acanthus leaf motifs thro...

Pair Of Gilded 1800s Gilded Capitals in carved poplar wood, originally part of a larger decorative complex. Of composite style, Ionic and Corinthian, they have under the abacus in th...

Rare and extraordinary and early pair of Neoclassical plaques. One having a carved and painted Bacchic relief plaque with putti joining Pan drinking from a jar. The antique plaques m...

An antique French Provincial pair of vertical decorative wall panels made of hand crafted Pinewood, depicting bundles of tied cloth, in good condition. The reliefs have a light-grey ...

Beautiful hand carving wall hanging made from wood, with sun burst motif, hand painted in light peachy colour, very nice patina. Great object of art for wall display.

A pair of large antique medallions from early 19th Century Italy, carved in the Renaissance style, in good condition. Each circular Chestnut relief depicts an idyllic landscape scene...

A beautiful painting of modest size, made in oil on canvas and framed in a carved and gilded wooden frame. The painting depicts the portrait of a young woman with her hair gathered a...

This antique hand painted porcelain panel is unsigned but was done in Italy in circa 1890 in the Roccoco style. The hand painted porcelain disc of La Madonna della Sedia, after Rafael Sanzio...

Latin American 1700s wooden crucifix. Carved face and body features. Beautiful patina. Jesus on the Cross Folk Art. We have specialized in the sale of Art Deco and Art Nouveau and V...

Antique Religious Oil Painting, Antique Religious Icon, Antique Gothic Revival Religious Painting, Antique Gothic Revival Cabinet, Reli...

A late 18th Century, antique Swedish Gustavian wall mirror made of hand crafted Pinewood with its original mirrored glass, in good condit...

Pair of Italian carved and giltwood wall brackets. Beautifully carved with acanthus leaves and scrollwork. Nice wide shelf atop a base that cumulates into a pineapple-like shape at b...

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

Antique Danish or Scandinavian mangle board (clothing and bedding press) dated 1941. It has this text cut into it: KM JDR 1841 and a short text painted on both sides of the handle. I...

Black Forest antique hand carved miniature wall pocket of a fringed game hunter's bag with woodcock, rifle and horn Rich, dark patina and very we...

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

18th C. Portrait of a Lawyer Circle of Jacques Aved French School Oil on Canvas . Circle of Jacques-Andre-Joseph-Camelot Aved Portrait of a lawyer 1702-1766 French school mid-18th c...

Early German baroque bronze mermaid door knocker on frosted lucite stand. This door knocker is a work of art; heavy bronze with original patina, ...

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 ...

Americana Folk Art Painted Pennsylvania Barber’s Pole Anonymous Pennsylvania; mid-to-late 19th century Polychrome wood, iron Approximate size: 32.5 (h) x 2.75 (w) x 11.25 (d) This...

Monumental hand carved wood sign from the 1930s. Made by H.H. Upham & Co. Interestingly, this company owned a huge sign manufacturing business in the ...

Antique Reindeer Antler Mount Taxidermy Cabin Decor Skull Antlers Item e7354 A great antique reindeer (Rangifer tarandus) trophy on a wooden panel wit...

A Rare Life-Sized Black Forest Stag's Head Carved from Lindenwood, the deer head with realistic fur effect, patination, and glass inset eyes in conjunction with the real three-tined...

Painted porcelain and hand carved, gold leaf wood frame, signed "Épanouissement", Vienna, circa 1890.

An exceptional and rare example of 19th-century American carved folk art, this monumental elk head is mounted on a striking polychrome shield plaque. Dating to circa 1890 and origina...

Gustavian Swedish 18th century plate rack with original gorgeous rosemåling painting, circa 1800, origin: Northern Sweden.

Stunning oil painting on a wooden panel, housed in a carved and gilded wooden frame. The painting depicts Mercury, the messenger of the gods, hovering over the Temple of Vesta in Tiv...

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...

German Black Forest style barometer with fine hand-carved oak branches, leaves, and acorns. Dimensions: height 30 cm / 11.81 in; width 24 cm / 9.44 in; depth 5 cm / 1.96 in. In good ...

Ornately-Carved Walnut Carving of an Angel. France, circa 1700s. Possibly from a ship or country estate.

Hand-carved in France, circa 1850, this elegant etagere features elements inspired by nature, known as the Rocaille style. The opulent giltwood wall shelf...

This beautifully handcrafted wall piece pays tribute to the splendor of Andalusian architecture, echoing the intricate arches and decorative flourishes of the Alhambra in Granada. Made in early 20th-century Spain, it captures the spirit of Islamic Revival style with striking detail and artisan precision. At its center are three classic horseshoe arches, richly adorned with arabesques and supported by slender columns topped with finely worked capitals. A palette of soft reds, blues, and golds brings depth and warmth, further elevated by a rich burgundy velvet background. Surrounding the scene is a remarkable inlaid wooden frame, featuring delicate geometric patterns and flowing Arabic calligraphy — hallmarks of Neo-Mudejar design. This is not only a decorative object but a conversation piece, a rare combination of cultural history, architectural beauty, and fine craftsmanship. There are signs of restorations and some chipping to the plasterwork, mostly along the edges, but nothing that takes away from the overall beauty or structural integrity of the piece. Whether you're a lover of Islamic art, architectural miniatures, or simply looking for something rich in history and charm to add to your space, this piece brings timeless character and a story with it. A rare find with true soul. The large frame may have some minor losses and but this antique art work...

A French 19th Century Louis XV style mirror, carved in Pinewood with Gesso finish and gilded, in good condition. The frame has the typical Rocaille décor. The antique mirror has its ...