Continental Europe - Decorative Objects

Armored jewelry armoire with pull out necklace bar. Available in malachite or white bird's eye maple. See below for more details about finishin...

This exceptional piece meticulously reproduces Danish sculptor Bertel Thorvaldsen's oeuvre realized in 1806 and preserved at the Thorvaldsen Museum ...

This very pretty Paris porcelain vase dates from the 19th century, and features a beautiful enamelled floral design of wildflowers, surrounded by rococo style moulding embellished wi...

The Small Millerighe Round vase epitomizes refined elegance and artistic craftsmanship. This exquisite vase, inspired by the delicate form of a leaf gently poised in the air, feature...

The glass clown was designed and manufactured in the Mid-Century Modern era in Murano, Italy. It is in excellent condition with no chips, cracks, or chiggers.

Venini Art Glass Bowl 'Diamante' by Paolo Venini, Murano 1930s A rare Venini art glass bowl of the 'Diamante' series. Heavy transparent glass with a ...

Very decorative large Murano glass bowl out of the renown workshops in Italy from the mid century period around 1960/70. Impressing with its extraordinary shape - just see the gorgeo...

Beautiful bohemian art glass bowl by one of the Czechoslovakian greatest glass designers Josef Hospodka. The bowl is made of metallurgical art glass of pink glass. The design is very...

Massive hand blown Murano Sommerso pink and opalescent white round art glass bowl. Attributed to Archimede Seguso. Italy, 1950s. Pink glass over opaline white glass in the Alabastro ...

Emile Gallé “Clematites” Cameo Glass Vase, Nancy, 1904–1906 Dimensions: Height 9 cm; Diameter 10 cm A rare museum-quality trilobe vase by Emile Gallé, showcasing botanical mastery an...

A rare and beautiful paperweight with amazing surrealist eyeball decor. Designed and produced by Piero Fornasetti in Milano, Italy. Early production, 1950s. Great original conditio...

Rare white opaline clock with chiseled ormolu mount featuring two entwined dolphins. Their tails support the spherical upper part in fluted white opaline, which accommodates a gilt b...

An eye-catching and ornamental vintage life-size figurine of a boxer dog, standing 34 inches tall. This handcrafted and hand-painted statue, made from glazed ceramic/pottery, was pro...

Royal Copenhagen, a porcelain figurine of a girl in regional dress from Faroe Islands. Overglaze. Dressed in regional costume and holding a bouquet of flowers. Model: 12416. Juliane...

Exquisite 1970s Green and Yellow Sommerso Murano Glass Sculptural Vase. Immerse your space in the vibrant artistry of Murano with this stunning 1970s sculptural glass vase, masterful...

1950s Fornasetti original astonishing porcelain vide poche/catchall "Sonate- Wolfgang Amadeus Mozart" by Piero Fornasetti . Heavy porcelain construction for use as beautiful desk acc...

Refined sculpture depicting a woman flaunting her beauty. Note how the veining of the marble simulates the dress.

Big Spanish ceramic centerpiece or fruit bowl from Manises. It features a bowl-shaped body made with intertwined strips of ceramic, ending in spiral points both at the top and bottom...

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative mini sculpture. Mini White Dalmatian Dog Sculpture was produced in Italy....

Nice Mado Jolain vide-poche ceramic, circa 1950, France. Enameled white earthenware, pale creamy yellow, grey and black decor. Signed underneath. Dimens...

1 of 7 Jamie Hayon decorative objects for Cassina. Hayon crafts a collection of minimalist, functional objects for the modern home, envisioned as a scrupulous dedication to the use o...

Beautiful polychrome porcelain crucifix from the Meissen factory, one of the oldest and most prestigious European porcelain manufacturers. The brand...

Article: ceramic pottery vase. Origin: Germany. Producer: Carstens Tönnieshof, Germany. Decade: 1970s. This original vintage pottery object was designed and produced by C...

Beautiful red glass vase made in Italy in the 1970s. The vintage vase is in good vintage condition, there is a small chip at the bottom. Dimensions: Width: 11 cm / 4.3 inches Hei...

Set of 2 Ashtrays/Decorative ''Robot'' trays by Erik Höglund from the 1960's. Emerald Green Tray - 11x11 CM Blue Tray - 9 CM

Vase Apple Designed by Ingeborg Lundin for Orrefors Sweden, 1955 Large Orrefors 'The Apple' EXPO vase, designed by Ingeborg Lundin, Sweden, 1955, free-blown colorless glass with yel...

Sculpture Danish retro dog In hand painted ceramic.

Polished white bird’s-eye maple or polished walnut matte finish armored chest, 24-karat gold-plated accessories. Round handle with biometric opening device and emergency key integrat...

Fluted Art Deco Vase in Patinated Metal and Brass 1930s. Wonderful fluted vase with a very distinct art deco design. Beautiful design with a semi abstract floral inspired decor. Gre...

Calamaio a forma di sarcofago in marmi pregiati, Roma, inizi del 19 secolo, epoca Grand Tour. I calamai a sarcofago del Grand Tour sono oggetti di lusso del XVIII e XIX secolo ispi...

Remarkable Art Deco candle holder in patinated brass, first half of the 20th century. A beautiful and large candle holder with a remarkable art deco design. This candle holder is a...

For the La Terra collection, Lemon collaborated with renowned artist Jade Paton. Jade creates contemporary sculptures out of clay. Her main source of inspir...

Jolie sculpture en ronde bosse pzr Deitrich-Mohr en bronze texturé.

Rare vintage bottle of Chanel N°5 perfume extract, in glass, 20th century. Rare vintage glass bottle of Chanel N°5 perfume extract, 20th century. H: 28cm, W: 18,5cm, D: 8,5cm

Armored jewelry case with pull out necklace bars. See information below for details of item variations. Gold variation: Shiny gold steel. Inside d...

Rare vintage bottle of perfume extract, Coco Mademoiselle, Chanel, 20th century. Rare vintage glass bottle of perfume extract by Chanel, Coco Mademoiselle, 20th century. H: 28cm, W:...

Sitting Faun Luster Glazed Sculpture Early 20th Century. A wonderful and hauntingly beautiful sculpture of a sitting Faun - an early 20th century studio pottery work with a very dis...

Bronze sculpture of a nude woman, signed Cipriani, early 20th century. Sculpture signed Cipriani in patinated bronze in the Art Deco style, marble base, representing a nude woman, 1...

Mid-20th century glazed ceramic elephant garden stool, flower pot. Handmade of ceramic. Nice addition to your home, patio or garden. This is in good condition,with some chips, blue c...

This magnificent Louis XV-style pendulum clock from the mid-19th century features elaborate Boulle marquetry and fire-gilded bronze appliqués in the form of rocaille, shell decoratio...

An extraordinary and museum-worthy 15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and royal...

This is a decorative or jelwery box. It has been made in France circa 1940. Art Deco period. Brown color. Materials are ceramic and oak.

Splendid Italian 1940s wrought iron bird and leaf motif candlestick

Guido Cacciapuoti ceramic horses, 1940.

Lockable jewelry chest with 5 drawers, two pullout / pull-out necklace bars, and lined in ultra-suede. Accessories in 24 karats gold plated brass...

Description: Silver vase with floral motifs in relief, swan figures and engraved friezes, set on a circular base with reliefs. Metal: Silver. Origin: Portuguese. Mark: standing eagle...

A pair of SwedishEmpire candlesticks made of porphyry and gilt bronze. A rare model of great quality. Small and exquisite.

Delicate soliflore vase with berries and leaves decor. Multi-layered glass, with a decor intricately cleared with acid through vivid crimson red against a deep yellow glass ground. T...

Enhance your decor with the timeless elegance of this vintage amber blown glass vase from the early 20th century. Crafted by an unknown Spanish ...

Willow Mobile Hanging Sculpture in Stained Wood & Wire by Dace Sūna Dimensions: D 43 x W 120 x H 95 cm. Materials: Stained wood and wire. Bare, weeping silver birch branches swayed...

Sizeable Art Noveau Brass Casket made by Niels Dam Ravn in the later 1920s. * Lidded brass casket with a viking. Inner wood box. Signed NDR lower right on the lid. * Designer: Niels...

A vintage Murano hand blown 'fazzoletto'/handkerchief art glass vase. Deigned by Fulvio Bianconi, for the Venini Company, circa 1950, the vase has a red and white decoration of alte...

Beautiful vase by Lars Holmström, produced in his own workshop in Arvika, Sweden, ca 1950's. Made of brass.

Apple” Christofle box in good condition in silver metaL.

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...

Antique black forest carved seated bear sculpture An adorable and masterfully hand-carved figure of a seated bear. Switzerland, circa 1900...

Sculpture Concorde model in high quality resin, scale 1/25. Vertical base in blackened steel. Exceptional piece. Made in France. Base: L 71 x D 55cm. Model: Wingspan 100cm x heig...

Sculpture in Murano glass, grey Dolphin with crystal details, Italy in stock Dimensions: L 22 cm x H 28 cm x D 22 cm ( L 8.6" x H 11.0" x D 8.6") We recently came across the untouc...

Box quartz and marble in black marble with lid. With natural quartz on lid's top.

Pair of sculptural summit speakers.