Italy - Decorative Objects

Jewelry box in briar and mahogany, matte finish, ultra suede lining. 24-karat gold plated brass accessories. With removable tray and necklace bar.

Rose blossom sculpted entirely by hand starting from a solid block of rare rose quartz. Dimensions: approximately D 12 x H 12 cm. Available in different...

Vintage Murano Glass Clown Sculpture - 1990s/2000s Collectible Art Piece, New in Box Add a touch of whimsical artistry to your collection ...

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

Amazonia vase - matt mint, clear brown, clear fuchsia and clear pink. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: L Ø 22 cm x H 36 cm...

A striking and elegant vintage Murano glass vase created by the renowned Vintage Murano Gallery in the 1980s. This piece perfectly embodies the vibrant, yet sophisticated, design eth...

Tamu candle holders A metallic effect cover these two tall candle holders so masterfully crafted that these pieces have a mirror effect along their ...

Fountain pen made of solid silver, completely handcrafted and engraved with baroque volutes. The care with which this fountain pen was made denotes the experience and artistic hand ...

The main components of this unique centerpiece are its 24-karat gold plated brass base and the exquisitely crafted multicolored Murano glass sculptural piece at the top, perfectly cu...

Vintage Candy Dispenser An authentic icon of the 1990s American aesthetic, this charming "Candy Cable Car Co." candy dispenser is an original Blackdog creation, made in the United S...

Torso maschile imponente, peso circa kg 800, scolpito su marmo bianco Carrara poggiante su base travertino Romano ispirato al Doriforo che si trova agli uffizi di Firenze. Modello or...

Introducing a stunning collection of vases meticulously handcrafted by Roberto Beltrami and his skilled team in Murano. These majestic vases are shaped before being adorned with sco...

Iconic Venini Fazzoletto vase, model 700.02, in grey opalino glass. Hand-blown and finished by master glassmakers in Murano, with the characteristic wavy rim "mano volante" that reca...

Venini Dorici vase in Green Murano Glass, model 793.16, produced in 2001 and accompanied by its original Venini box and paperwork. Refined Dorici vase by Venini, designed by Monica ...

Iconic Venini Fazzoletto vase, model 700.02 90th Anniversary, in Green glass, diamond-engraved Venini 2012 with box and paperwork. Special-edition produced in 2012 to commemorate Ven...

1960s Luxury handcrafted vase in Murano glass. Made in Italy. The item is in excellent condition. This vase is handmade in blown glass. Dimension: diam 6,29 x 11,41 H inches diam 1...

FREEVOLLE Twist and go! The Freevolle Lady lamp captures a quiet elegance, with its refined curves, delicate and airy silhouette, it moves with grace—strik...

Refined centerpiece in porcelain stoneware, decorated in dark green and brown tones. Under the base, the manufacturer's trademark and paper label. "Arcore Ceramica" that was founded ...

Ronzan “stile” Jaguar ceramic, 1950, Italy.

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

Italian desgn 1960s murano art glass green, yellow and transparent small vase. The presence of the original vintage label is a real rarity. Beautiful Murano glass vase, designed by F...

Art deco octagonal table clock cm. 10x10 in 925/1000 gilded silver with translucent black and red fired enamels on guilloché, Swiss mechanical skeletal movement, winding 8 days The miniatures are hand-painted on a usually white homogeneous enamel base. The same colored glazes are used, but ground much finer, which are mixed with special oils to form an infinite palette of colors. The paint must be gradually dried on electric stoves...

Part of the Coral Collection, the Coral Vase transforms the intricate beauty of coral into a stunning glasswork. This collection honors the majestic sea life, capturing the delicate ...

This exquisite set of four 19th-century sterling silver Corinthian candlesticks, crafted by Richard Hodd & Son, showcases the finest English craftsmanship. Featuring beautifully detailed acanthus-decorated sconces with scroll supports, silver beading along the sconces and platforms, and terraced pedestal bases, these candlesticks are a true reflection of elegant Georgian design. The shaped wax...

The value of change in a simple act. Karen Chekerdjian’s new creation puts design front and centre: from one foundation, multiple possibilities. Light casts a magical, eternal glow o...

1970s Astonishing table clock by Omodomo in crystal. Made in Italy. It's in excellent condition and it works perfectly with battery (quartz mechanism) Dimensions: 6,69 x 2,75 x 2,75 ...

This elegant picture frame, in the style of Barovier Toso, is a beautiful example of 1990s Murano glass and Art Deco-inspired design. The frame features a thick, clear Murano g...

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

Oxidized bronze Green Blue Metallized Candle 4 Candles by Frederic Texier Dimensions: W 27 x D 20 x H 34 cm. Materials: Concrete coated with bronze powder and then oxidized, Metal p...

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...

Stunning Murano glass egg-shaped vase in Murano mouth-blown glass with gradient colors. This spectacular and unique object was designed by Salviati and produced in Murano. In fabulo...

Discerning materials and excellent craftsmanship meld together in our Selene box. Supported by small feet in chromed brass, this box is handmade of wood with lacquered ivory gloss fi...

Italian Murano art glass vase in blue and clear color hand blown with two small fish / Made in Italy by Sergio Costantini, circa 1980s Original maker's mark underside Measures: Heigh...

Vase Venini Fazzoletto, model 702.00, in Yellow Aquamarine opalino glass, Signed 2008 with box and paperwork. This iconic Fazzoletto vase by Venini, designed in 1949 by Fulvio...

Vintage Crystal Candy Box realized in Germany in 1970s. Very good condition.

  White bird’s-eye maple and green marble chess set. Hand painted Golf chessmen.

This large branch of Mediterranean coral, 'Corallium Rubrum' is mounted on a gilt bronze base. The creation of the vase-shaped base involves various techniques: lost wax casting, mol...

The paper knife or letter opener was originally used for cutting open the pages of hand-produced books where the folding of the printed sheets creates some closed edges that require ...

Snuff Box Silver is in 925/1000 sterling. Snuff Box Silver has black fired enamels on guilloché. Snuff Box Silver has a lid with geometric design ...

Created in the iconic "Fazzoletto" (handkerchief) style, this vase features a graceful, asymmetrical, and ruffled rim that captures a sense of movement and fluidity. The classic desi...

A spot-on addition to refined coastal homes, this enthralling design pairs the functionality of a vase in fine ceramic with the visual appeal of a visionary objet d'art. Artist Patrizia Italiano...

More than a decorative object, this frame will display cherished memories recorded on a photo to be remembered and admired. This elegant frame is crafted of dark wenge and showcases ...

Large egg on smooth tripod with 8-day mechanical skeletal Swiss movement with alarm, in 925/1000 sterling silver gold plated with translucent fired enamel on guilloché with Russian E...

This French Empire 19th century rectangular porcelain dresser box or jewlery decorative casket has a wonderfully patinated powder blue/cerulean light blue background color and features grotesque masks, architectural vase, fruit, flowers and leafy scrolled design throughout painted as a trompe l’oeil in the round. Ormolu mounts enrich the whole box. The paintings on this casket are striking as is the color palette used, a wonderful mix of light purple, cream, blue and soft brown. The lid is centered by a grotesque mask inspired by antiquity. The front, back and sides are profusely decorated with architectural elements, cartouches and volutes. The design is centered by a vase with a fruit arrangement that appear to be plums. The decoration could refer to the allegory of autumn and the mask painted on the lid could refer to Bacchus. Both the color of the porcelain and the paintings are very unusual and a sign of high quality and uniqueness.The box was most probably given to a high-ranking lady as a gift on the occasion of her marriage, or perhaps after the birth of a child. The lidded box is fitted with ormolu mounts, hinges and clasp. A gilt bronze band finelly chiseled in the form of a rope adorns the upper part. The trinket box rests on four gilt bronze lion paw feet. This striking French porcelain box...

A pair of outstanding giraffe sculptures . The item will be well-suited to either an indoor or outdoor setting.

Midcentury beautiful cylindrical decorative vase in glazed blue ceramic attributed to Aldo Londi for Bitossi. Vase cylinder decorated with several bands of organic and geometric impressed patterns. Made in Italy in the 1970s. Vase also retains original "The Seahorse...

Part of the Poseidon collection, this exceptional bathroom set will elevate the look of any bathroom with its timeless elegance. It comprises a cylindrical soap dispenser, toothbrush holder, cotton holder, and small object box or soap bar holder nested within a rectangular tray. All pieces are upholstered entirely in a soft blue-colored leather, which contrasts with the polished metal pump...

Kastle mini bowl, Murano glass, by Karim Rashid, 21st century. Karim Rashid has conceived for Purho a mini collection of bowls and vases characterized by their faceted, structural fo...

Lockable chest in black polished wood for 54 pairs of cufflinks. This is also extendable up to 90 pairs.

Kastle large bowl, Murano glass, by Karim Rashid, 21st century. Karim Rashid has conceived for Purho a mini collection of bowls and vases characte...

Jewelry chest in briar and mahogany, matte finish, ultra suede lining. 24-karat gold-plated brass accessories. With 4 drawers. Two lockable doors with necklace bars.

Lockable jewelry box with removable tray, lined for earrings, rings, necklaces. Available in polished ebony, polished red burl wood or white bird’s...

Matthew Williamson one of the most well known fashion designer has created a tabletop and textile collection for Les-Ottomans. Colors is a must in all Williamsons’ designs as well as the peacock’s references that are here revealed in several new and original patterns. This listing shows his magnificent multi-color peacock porcelain...

Once used to hang from trees to scare away birds, these 1950s utilitarian glass pieces now make for extraordinary decorative items. Like giant baubles, they are hand-blown and made of incomparable burgundy...

Teak basket, 1950s. Rare waste paper basket made of fine teak wood connected at the sides with brass studs. The exterior features a silkscreen print by Margaret Dovaston, a British p...

Rare cork screw by Walter Bosse for Hertha Baller Excellent condition.

This unique and stylish ceramic vase, designed by the iconic Pierre Cardin, is a perfect representation of 1970s mid-century modern design. The piece features an abstract, sculptural...

Branch of Mediterranean red coral (Corallium Rubrum), mounted on a square-shaped marble base, with a parallelepiped-shaped central body. The entire body is enriched by a mosaic of la...

Cratere Vase Named after the Italian for crater, the design of this handcrafted ceramic bowl flaunts a singular design of speckles and crackles. The white look on the interior - a...

1930 Art Deco wall clock in Parchment. Made in France.