Carrara Marble Decorative Objects

This exquisite Art Deco period specimen marble object was originally conceived during the interwar era as a sophisticated, dual-purpose functional accessory, serving elegantly as a h...

Grand Tour Neoclassical style Carrara marble sculpture of Pauline Bonaparte as Venus Victrix (after the original by Antonio Canova) - featuring delicate hand carving throughout - hon...

A life-size carved marble bust of the Roman Emperor Otho (69 AD), dating from the second half of the 20th century. The face and body have been sensitively modelled in Carrara marble...

A beautiful pure gemstone box crafted from four natural stones, including the very rare K3 Jasper, showcasing the artistry of a master craftsman. A harmonious blend of green serpenti...

sculpture, Female Torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, female marble torso A small female torso carved from beautiful white Carrara marb...

Large Italian white marble sculpture of the Duke of Urbino (1492-1515), Lorenzo de Medici, after the original marble sculpture by Michelangelo installed in the tomb in the new sacris...

Fabulous hand sculpted marble abstract bust on a chrome plinth. Organic Head resting on its hands. Carved from Carrara Marble. In excellent vintage condition with minimal wear from a...

Carrara Marble sculpture representing a romantic young girl with a jug leaning on a pilaster carved with the effigy of a Sphinx. Italian work signed Dante Zoi from Florence. 19th cen...

A hand carved late 18th/19th Century mythological marble Satyr mask with horns, weathered patina in good condition. The hand sculpted Italian Carrara marb...

A pair of beautifully crafted male and female figural sculptures in the style of Giacometti. The pair are on a White Marble base and are four pounds each. We acquire these often ...

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Beautiful Male Bust, Italy, began 20th century Height x width x depth: 45 x 34 x 16 cm in white statuary Carrara marble with a Portoro marble base. Good condition

This pair of Italian Grand Tour-style brecciated specimen marble spheres on Carrara marble bases showcases the timeless appeal of Italy's richly colored ornamental stones. Carved fro...

This sculptural object, carved from luminous Carrara marble, presents itself as a quiet yet assured meditation on balance, movement, and restraint. Its form unfolds through a sequenc...

A special chess set in solid hand-patinated brass. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can tru...

Spectacular Italian Sculpture, early 19th century "Male Bust" featuring draped attire and a *lorica musculata* (muscled cuirass), surmounted by the head of a young man rising above...

Important 19th century sculpture carved on white Carrara marble. The female figure is dressed in a stunning Art Nouveau costume and rests on a pyramidal-shaped pedestal. Magnificent ...

A smooth round open decorative fruit bowl or centerpiece. The clean modern look lends itself to many environments - from cocktail table, to kitchen island or table centerpiece. ...

A very fine and large French 19th century white marble bust of a young beauty, purported to be a young "Marie Antoinette" (Queen of France 1755-1793), by René Rozet...

Hand carved sculpture in marble by Jerrold Ballaine (1934-2025) was a Bay Area artist, Emeritus Professor of Art at Berkeley University and director o...

Sculpture - Height : 96 cm (37,8 in.) ; Width: 32 cm (15,6 in.) ; Depth: 36 cm (14,2 in.) Base – Height : 92 cm (36,2 in.) ; Diameter : 42,5 cm (16,7 in.) Important Carrara marble s...

A special chess set in solid, hand-patinated brass and walnut. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can truly be customized an...

A finely carved solid marble bust depicting a hooded skeletal figure, this striking memento mori sculpture presents a smooth, polished skull emerging from deeply folded drapery that ...

Sculpture, emperor bust, ancient Roman bust, Roman art, classical art, Greek art, bust, white Carrara marble, classical sculpture, Marcus Aurelius, ancient sculpture, ancient bust, m...

A nice pair of post-modern Italian carrara marble vases, circa 1970s. Gorgeous black veins of marble throughout each vase. The pair are in very good vintage condition with no chips o...

An extraordinary signed sculpture by Pietro Cenedella, carved from luminous Carrara marble in the 1970s. Resting on a rectangular marble plinth, the work unfurls in a dynamic, shell-...

Masterfully carved Italian Vanitas / Memento Mori bust in solid marble from late 19th century. White Carrara marble skull combined with masterfully...

A sculpture in precious white Carrara marble reproducing the Torso Gaddi, the famous fragmentary sculpture displayed in the Uffizi Museums in Florence, which inspired many great arti...

Nicely carved bust. With round socle base. A celebrated sculpture from classical antiquity.

Sculpture, Female torso, classical art, Greek art, Roman art, Torso, white Carrara marble, classical sculpture, ancient torso, Greek torso, Venus torso Sculpted female torso on whit...

Sculpture, Male torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso Male torso carved on beautiful white Carrara marble, original model. ...

An antique Italian torso of a Roman male in hand carved Carrara marble and mounted onto a black marble base, in good condition. The Italian décor represe...

Small Marble Table Sculpture. Very nice form, no signature or markings. W 6.5 x D 3 x H 5 in

This sculptural vase is inspired by the elegant shapes of the calla lily, a flower known for its beauty and symbolism. Hand-sculpted from a block of imperial green marble, this piece...

Bust of Apollo, Carrara marble, carved directly from the stone, with a sea-green marble base, circa 1800, France. Height with base: 60 cm; height without base: 45 cm. Total width of ...

A delicate and beautifully carved Carrara marble statue depicting a young semi-nude girl, holding a bouquet of roses in one hand and a vase in the other. This late 19th century Itali...

FREE WORLDWIDE SHIPPING From our Decorative collection, we are pleased to present this elegant pair of Italian Grand Tour Marble Plaques, dating to the mid-19th century, circa 1860....

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - a fantastic quality and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble...

A carved white marble horse head, probably Italian, provisionally dated to the late nineteenth or early twentieth century, circa 1880–1920. Presented with an arched neck, upright ear...

A magnificent late 19th century French ormolu and white marble mantel clock, by the prestigious Parisian bronziers, Baguès Frères, Paris, beautifully conceived in the Louis XVI style...

Fine antique (19th century) continental bust of a lovely female in curls and dress adorned with bows at the shoulder. Apparently unsigned.

A beautiful 19th Century French Louis XVI Ormolu and White Carrara Boudoir Clock with a Pair of Candelabras. This antique French ormolu mounted white marble boudoir clock, is circa...

Grey Marble Socle From our Sculpture collection, we are delighted to offer this exceptional Antique Italian Marble Bust Augustus Caesar. The bust...

Sculpture, Male torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso, Greek torso, statuary marble sculpture. Male torso carved on statuar...

This superb quality French Louis XV style clock set is a magnificent example of fine 19th-century decorative art, combining the elegance of gilt bronze with the timeless beauty of wh...

An exceptionally fine Carrara marble bust of Napoleon Bonaparte on an equally fine marble columnar pedestal,  Circa 1810 in date.   The sculpture depicts a young Napoleon wearing his...

A beautifully sculpted antique Italian Carrara marble bust of a Nobleman in armour, mid-20th century in date. The subject facing dexter, wearing a long perruque, chest armour, and a...

A very stunning 18th century Italian Blasson - Family Crest. Expertly carved from Carrara Marble with heraldic lion, a crown and vines. A spectacular pie...

Exceptional Grand Tour Neoclassical Carrara marble Florentine School sculpture of a young boy praying (likely Saint John the Baptist as a youth) - after a similar sculpture by Luigi ...

Commissioned by a special client as the perfect stage for their chess battles, this table is a showcase of NOVOCASTRIAN’s creative ability, of almost 10 years of experimentation, ref...

A refined snowflake serpentine box, expertly crafted in Italy and lined with luminous Carrara marble. The exterior stone displays a captivating constellation of pale crystalline incl...

Masterfully carved & most impressive Italian Vanitas bust in solid marble from late 19th century. White Carrara marble skull combined with a Belgian...

Beautiful Italian " Torso " 20th century Carrara marble. Measure: H: 47m including base, 30cm without very good condition

An Outstanding Pair 19th Century Italian Hand-Carved Carrara Marble Busts of Apollo & Artemis, One Bust is Signed on the Back, "F Vichi". This pair of stunning marble busts, hand-car...

A Very Fine, Large and Charming Italian Late 19th to early 20th-Century Carrara Marble Sculpture Group Titled “The Village Celebration” by Professor Antonio Garella (Italian, 1863-1919). The intricately, impressive and exceptionally carved statuary marble group depicting a joyful dancing and singing group of Italian villagers, in a lively embrace, holding hands and arms. The happy celebratory scene includes a figure playing an accordion, another holding a wicker basket, and a hunter with a rifle slung over his back, accompanied by his hunting dog. The sculpture is elegantly mounted on a swiveling, carved green marble pedestal. Signed: Profre A. Garella – Galleria P. Bazzanti, Firenze. Circa: Florence, 1900. Antonio Giuseppe Garella (1863–1919) was an Italian sculptor renowned for his work in marble, alabaster, and bronze during the late 19th and early 20th centuries. Born in Ferrara (some sources cite Bologna), he trained at the Accademia di Belle Arti in Florence and in Bologna before establishing himself in Florence, where he became a prominent figure in the city’s artistic community. Often referred to as "Professor Antonio Garella," he was closely associated with the Galleria P. Bazzanti, a prestigious hub for sculpture sales and exhibitions. Garella’s career spanned the fin-de-siècle period, blending neoclassical influences with romantic, narrative themes inspired by everyday Italian life and classical antiquity. His sculptures, known for their intricate carving and emotional expressiveness, include lively portrayals, as seen in The Village Celebration. Other notable works include The Love Letter, a white marble figure of a young woman reading, evoking tender emotion; La Notte (The Night), a nude sculpture of a flying maiden above an orb; Diane of Gabii, a life-size marble inspired by classical antiquity; and Apollo and Daphne, a large marble sculpture modeled after Gianlorenzo Bernini’s 17th-century masterpiece in the Borghese Villa, Rome. In Apollo and Daphne, drawn from Ovid’s Metamorphoses, Garella captures the myth of the chaste nymph Daphne, pursued by the young god Apollo, who is bewitched by Cupid to fall in love with her. As Daphne prays to her river-god father to escape Apollo’s advances, she transforms into a laurel tree. Garella, like Bernini, sensitively carves Daphne’s feet and hands morphing into leaves and branches, while Ovid notes that Apollo can still feel her heart beating beneath the bark. Garella’s monumental commissions further highlight his prominence, including a 1904 statue of Garibaldi in Pistoia and two statues, L’Architettura and La Musica, for the Vittorio Emanuele II Monument in Rome. Though not as celebrated as Antonio Canova (1757–1822), Garella significantly contributed to Florence’s marble sculpture tradition, bridging academic styles with emerging 20th-century trends and influencing decorative arts. His masterpieces, often crafted through ateliers like Galleria P. Bazzanti, remain highly valued in European and American private collections, with limited auction records due to their scarcity in the antiques trade market. Related Literature: A. Panzetta, Nuovo dizionario degli scultori italiani, Turin, 2003, vol. I. Museums: • Museo Civico di Prato (Prato Civic Museum) - Prato, Italy Ritratto di Filippino Lippi (Portrait of Filippino Lippi) Bronze and marble bust portraying the Renaissance painter Filippino Lippi (1457–1504), reflecting Garella's skill in portraiture and historical homage. • Fondazione Sgarbi (Sgarbi Foundation; a private cultural institution with museum-like functions, focused on art collections) - Ro Ferrarese, Italy Saffo (Sappho) Polymaterial bust (likely marble and other media) depicting the ancient Greek poet Sappho, emphasizing classical themes. • Muzeum Palac-Herbsta – Łódź, Poland...

Nicely carved bust of a Roman patrician. a 19th century copy of an ancient Roman image. Socle base.

A finely carved 19th century marble sculpture, Italy, circa 1800, depicting the celebrated antique subject known as the Resting (or Leaning) Satyr, after a type long associated with ...

This finely executed bust of a Naiad is attributed to the neoclassical sculptor John Gibson (1790 – 1866). A Naiad was a type of mythological water nymph and is depicted here with her head bowed and cocked slightly to the side, displaying her strong neo-Hellenistic profile. In her hair, the nymph wears a headdress that is comprised of long and slender reed leaves, which not only identifies her iconographically as a water spirit, but draws a close comparison with those worn by the female figures in John Gibson’s Hylas Surprised by the Naiades (1827 - 1837) (fig.1). The downwards and off-centre orientation of our Naiad bust mirrors that of the taller figure on the left of the group, who rests her cheek on the head young Hylas (fig.2) Her facial physiognomy follows the neo-Hellenistic archetype established by Gibson and can be closely compared with his Tinted Venus – one of the most important statues of the Victorian era (1851–56, Walker Art Gallery, Liverpool) (fig.3). While Gibson’s Tinted Venus is known best for its controversial polychrome ‘tinting’, the essential structure of the face—broad brow, finely drawn nose, wide (and slightly drooping) almond-shaped eyes - provided a template that Gibson returned to repeatedly in his depiction of mythological maidens. Critics of the time noted the consistency of his female types, with some seeing their idealised severity as an antidote to the sentimentality of much mid-Victorian sculpture (fig.4 – 6). The facial physiognomy is also very similar to a drawing by Gibson at the Royal Academy that depicts Hero weeping over the dead body of Leander (fig.7). The socle style of the present work also finds comparisons with Gibsons busts of Cupid and Aurora. This was of course somewhat standardised, but it is interesting to note the extent of their similarity with our bust. John Gibson RA is considered by many to be the greatest British sculptor of the nineteenth century working in the Neoclassical style. It is hard to overestimate the impact Rome had on the life and art of the artist. He first arrived in the city around 1817, when he was just twenty-six, and remained a resident there until his death. Not only did Rome’s ancient sculptural treasures and architectural fragments offer Gibson a lifetime of inspiration, but the Grand Tourists who poured into Rome in the first half of the nineteenth century provided him with many commercial opportunities. These rich or aristocratic travellers sought out mythological sculptures for their grand, palatial residences. However, since the papal decrees of Doria Pamphilj and Pacca of 1803 banned the export of ancient Greek and Roman works of art from Rome, there was a large demand for modern idealised sculpture in the Neoclassical style (Frasca-Rath 2016, p. 10). During his early days in the city he had the great fortune to train under both Antonio Canova and Bertel Thorvaldsen (Roscoe and Hardy 2009, p. 522). He referred continuously to Canova as his “master”, particularly in his memoirs, which he dictated to Margarete Sandbach at the beginning of the 1850s; these were subsequently published by Lady Eastlake in 1870. Moreover, he claimed to be Canova’s last pupil in a letter to Antonio Gacini, Secretary of the Royal Academy in Milan in 1861, written to thank the Academy for accepting him as an Honorary Member: “The first instruction which I received in my art was from an Italian. It was Canova whose pupil I became in the year 1817 and studied under him for five years when he died. I was his last pupil” (Royal Academy Archive GI/1376). By 1821, Gibson had established his own studio in the via Fontanella, off the via Babuino. From here he aimed to produce sculpture of “the sublime and the purest beauty”, believing that the sculptor’s role was to select and combine the most beautiful parts of nature to create a harmonious whole, which would delight and elevate the viewer. By the mid nineteenth century he was one of the few remaining exponents of the so-called ‘pure’ and ‘neo Hellenistic’ style of sculpture, resolutely upholding the Neoclassical ideals established by Wincklemann, in a period when naturalism and modern subjects preoccupied the majority of artists in Europe (Turner, ed., 1996, p. 598). Gibson was convinced of the importance of disseminating artistic ideas through the younger generations, an ideal no doubt impressed upon him by Canova, and established ‘the British Academy of Arts in Rome’. His students included William Theed (1804–1891), Benjamin Spence (1822–1866), Harriet Hosmer...

A late 19th Century, antique Italian horse head sculpture with harness and mane in a classic style. This statuette was carved by hand in Carrara Marble. It has its’ original antique ...

A wonderful Silver cup with a brass band detail on a marble or granite base. The cup, while perfectly suited for a small gathering of flowers or to store pencils on a desk, is actually a small trophy. While it isn't prominent, a small brass icon...