Pair of Chinese Export Hardstone Horses and Stands

Pair of Chinese export hardwood and marble pedestals, each one of square form with inset marble tops, on subtly carved pedestal bases with lower stretchers.

Pair of Continental Carved and Polychromed Wooden Cornucopias, 19th Century These finely carved and polychromed wooden cornucopias exemplify the enduring symbolic power of the horn of plenty in European decorative arts. Each composition is rendered in high relief, the ribbed horn issuing an abundant cascade of fruit and vegetables—pomegranates, grapes, melons, pumpkins, gourds, citrus, corn, and floral sprays—arranged with exuberant Baroque fullness. Now mounted on forged iron bases for display, the pair measures 20" high × 28" wide × 3.5" deep, including stands 12.5" x 6" (carvings alone 28" wide × 17" high × 3.5" deep). The Cornucopia in History Originating in antiquity, the cornucopia (Latin cornu copiae) was first associated with Amalthea, the goat who suckled the infant Zeus, whose horn became a miraculous source of nourishment. In Roman culture it was carried by deities of abundance—Fortuna, Abundantia, and Ceres—as an emblem of civic prosperity and the cycles of nature. Revived in the Renaissance and Baroque periods, the cornucopia became a favored motif in architecture, painting, and decorative arts, symbolizing divine blessing, seasonal plenty, and the wealth of the natural world. Iconography of the Fruits and Vegetables The profusion of produce is not merely decorative but encodes symbolic meanings rooted in both classical and Christian traditions: Pomegranates—fertility, eternal life, and resurrection. Grapes—festivity, vintage, and the Eucharistic blood of Christ. Melons and Watermelon Slices—sensual abundance, refreshment, and ephemeral pleasure. Pumpkins and Gourds—autumn harvest, transformation, and the cycles of plenty. Corn (Maize)—sustenance and prosperity, reflecting New World influence on European symbolism. Citrus Fruits—health, luxury, and Mediterranean prosperity. Floral Sprays—seasonal beauty and the transience of life, underscoring vanitas themes common in still-life art. This allegorical language aligns the carvings with the broader European tradition of abundance imagery found in still-life painting, silverwork, and architectural ornament. Continental Style and Possible Origin The sculptural density, dramatic overlapping of forms, and naturalistic rendering suggest a Continental origin, likely Austrian, German, or Italian, c. late 19th century. While Swedish decorative carving of the same era tends toward flatter surfaces and folk stylization, these examples embody a more theatrical Baroque and Rococo inheritance, later enhanced with a polychrome or silver-toned surface to heighten their decorative impact. Originally conceived as architectural appliqués...

A unique and enchanting pair of 19th Century Tibetan carved wood & polychromed foo/guardian/temple dogs. These mythical Buddhist temple dogs, also known as "foo dogs" or "lion dogs,"...

Large Chinese export carved soapstone foo dog scholars seal, nicely carved, in two color soapstone, with large seal at base. The inscription reads: ...

Step back in time with this stunning pair of antique wooden horses, meticulously carved in the style reminiscent of the illustrious Tang Dynasty ...

A Vibrant Pair of Tang Dynasty Style Hand Painted Hand Carved Chinese Horses - priced as a pair Decorative wooden horses that would suitably adorn a shelf, a large desk, or p...

This is a heavy pair of vintage horse and groom figures. An Oriental, stone fireside ornament or bookends, dating to the late 20th century, circa 1980. Charming figures of substanti...

A pair of hand carved, large solid stone horse statues. The recumbent horses are crafted with two legs tucked under the body and tail flicked to o...