Hand-Carved Wall Decorations

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 ...

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

17th century Italian hand-painted ecclesiastical architectural element adorned with carnelian pebbles, gold-plated crystals, blue and yellow raw agate, and b...

A monumental 19th century French hand carved white marble architectural bas-relief depicting two floating cherubs / cupids supporting a cartouche. The cartouche centered by a detaile...

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...

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...

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...

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...

18th century Italian gilded and hand-carved wood tabernacle door with natural forming baroque pearls and tangerine quartz crystal points. This door onc...

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...

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.

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...

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

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...

Portrait of a Young Woman in a Blue Dress, France, Late 18th Century Dimension: frame cm W 78 x H 85 x D 8; canvas cm W 54 x H 64 This refined female portrait, painted in France dur...

Beautiful oil painting on canvas depicting a gentleman belonging to the ancient chivalric order of Saints Maurice and Lazarus, founded in 1572 by the House of Savoy. The protagonist ...

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 ...

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 ...

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.

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 ...

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...

A Pair of Carved Black Forest Game Plaques Expertly carved in Lindenwood, the shaped plaques, carved with oak leaves, depicting a chamois, deer, bird, fox and hunting accoutrements,...

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...

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...

A fabulous early 19th centruy Italian Console, wall Bracket is an incredible example of venetian crafstmanship of that time. The top has a very good and spacious size. Gold gilded an...

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

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...

Modern wall art sculpture by Donald C. Rattino This work has been featured in several juried art shows since its inception and most recently shown at The Chicago Museum of Contemp...

19th C. Swedish Carved Pine Wood Clock Grandmother Grandfather Long Case Antique . Freestanding hand carved pine wood clock with all the original mechanics and hardware , weights rack...

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 ...

Italian gilt carved panel. Neoclassical carved gilt wood open work panel with alternating square and round paterae with acanthus and further egg and dart borders in original mecca gi...

A beautiful pair of brass plated in flight seagulls wall hanging sculpture attributed to Curtis Jere. The birds wings and tails are in brass and the body in wood. The mid-century modern seagulls sculptures are finely hand-carved and highly decorative. About the designer : C. Jeré (or Curtis Jeré, often seen without the accent) is a metalwork company known for wall sculptures and household...

Beautiful wood carving in great overall condition as seen. See photos for details. Message with questions.

A magnificent display of mastery level woodworking, this antique oval plaque of St Luke was not only carved in bas relief, but it has an incurved shape. The concave plaque has severa...

This matched pair of antique hand-carved walnut wall brackets were salvaged from an early Victorian house in Montreal, Canada. The brackets are unsigned, but presumed to have originated from Canada in approximately 1850 in the period Victorian style. The brackets are solid walnut in their composition and have ornate decorative carvings. These wall corbels...

Kirk Tatom was one of the foremost carvers of stone in Santa Fe for nearly 20 years who changed from stone carving to successful artist in 1997. Oil on panel depicting the silhouett...

A wonderfully hand-carved wooden panel with floral motifs from the Indonesian island of Madura, off the coast of eastern Java. This decorative panel once adorned a traditional Madura...

A piece from the 'Delta' abstract sculpture series by James Rowland made from Brazilian hard wood with brass inlay. Scottish Artist and furniture Designer-Maker James Rowland of K...

Middle Eastern Moorish style (19th Century) carved teak wall panel with a large brass inlaid center panel centered between a mirrored top panel and fil...

Antique Chained Bear Pillbox Made of Brass Item e7255 A beautiful little brass statue of a bear chained to a tree stump. The bear's head can be opened. The figure can be used as a bo...

Black Forest carved deer or stag head & antlers mounted on shield plaque, Germany, 1900 Early 20th century Black Forest carved wood stag head with an...

A rare pair of large 19th-century oil portraits depicting Julius Ferdinand Dreysel and his wife Friedericke, prominent figures in the textile industry of Plauen, Germany. Painted aro...

17th Century Italian Flemish oil on canvas painting depicting the Adoration of the Magi. Early Flemish painting was contemporary to the development of the early Renaissance in Italy. In the middle of the 15th century Italy...

Italian Neo-classic style plaster wall plaque with painted faux porphyry scene of 3 figures within a white and gilt frame.

Vintage French Louis XV-style (20th Century) stained oak wall plaque carved with scrolls and laurels, framing a central still life oil painting of a floral arrangement. (Similar piec...

Pair 18th century French neoclassical hand-carved and painted wall sconces ~ Corbels were sculpted from solid oak and feature a timeless classical scroll festooned with acanthus flou...

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...

More information coming soon… A beautiful Dutch painting, signed “H J vd Weele” (Herman J Van Der Weele), depicting a pair of horses huddled beneath two trees with a sparse canopy o...

An antique English Tudor period oak panel dating to circa 1590, deeply handcarved with three large foliage scrolls and flowers. Over 430 years old, this oak wall panel has stood the ...

Magnificent and enormous pair of 17th century Italian Baroque period carved giltwood putti wall figures. The pair maintained its original gilding and co...

18th-century Italian gilded sunrays on a hand-distressed canvas aged with natural pigments and adorned with faden crystals and naturally formed baroque pearls. The piece is put toge...

A tribal door from a Lopo Round hut from tribes people on the island of Timor, Indonesia. A Lopo house is a communal hut where the tribe convenes with a second story used to store gr...

Decorate an entry wall or living room with this elegant pair of antique brackets. Crafted in Southern France, circa 1860, each fruitwood wall ...

A pair of striking black forest Terracotta handmade Pheasant Birds mounted on a solid oak plaque with brass flowers and brass details. These Animal Sculptu...

THE CROW OF THE COCK. Unique work and very decorative. Cock and Sun ceramic wall panel. Made by a R. MAREZ, French ceramist based in Vallauris ( South of France ). Amazi...

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. ...

An early 19th century French Provençal fariniere, or decorative flour box made of walnut with simple linear decoration of wheat and a flower urn. Waxed patina. This beautifully craft...

English fairground panel We share what we love, and we love this very well carved turn off the century fairground rounders panel/frieze, depicting a...

Ornate Italian Florentine giltwood hand carved wall bracket. With feather plume motif.

Often when centuries-old trunks did not survive the passage of time, 19th-century menuisiers (French woodworkers) would salvage the surviving wood and carve new furniture such as desks and similar trunks. The facade was typically the most ornate section of these antique trunks, making intact frontages highly valued antiques. Hand-carved from oak in Picardie, France, circa 1550, this period Gothic architectural is a beautiful example of an antique trunk facade that was not incorporated into a more recent furnishing. Picardie is a former administrative region in northern France that is home to many Gothic cathedrals. The Amiens Cathedral (mid-13th century) is the largest standing cathedral in Europe and is truly a masterpiece of Gothic architecture. Our trunk frontage has five vertically oriented inset panels embellished with various forms of Gothic tracery, including high-arching niches...