Carrara Marble Decorative Objects

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...

An extraordinary marble sculpture by Italian artist Pietro Cenedella, an abstract head-like form balancing between figuration and pure gesture. The piece is entirely carved from Carr...

A finely bronze fire-gilded ormolu mantel clock set with matching candelabras. Rich ornate with typical Louis XVI mounts, floral garlands, scr...

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 ...

A finely crafted natural serpentine stone box, showcasing a vivid apple-green ground with subtle dark inclusions and a striking crossband in contrasting, different variety of serpent...

This elegantly bold Mid-Century Modern Carrara Marble Abstract Sculpture originates from the United States, Circa 1970. Features an abstracted geometric form with a remarkable sense ...

Carrara marble small lidded canister or stash container. Italy, 1960s.

Our antique (late 19th century) white marble Grand Tour sculpture of Lorenzo de Medici, Duke of Urbino (1492-1515). Sculpture 22 by 9 by 10 inches. The sculpture, carved from Carr...

Palace size antique Louis XVI style museum quality Carrara marble, Dore and patinated bronze sculptural mantel clock signed Mannheim a Paris 19th Century Centered enamel dial signed ...

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

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

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...

This beautiful intertwined abstract figure bronze sculpture on a white marble base is very sensual and has an amazing and different presence from every angle. The bodies are intertwi...

GRAND TOUR MODEL OF VENUS DE MILO AFTER ANTIQUITY Italian a late 19th to early 20th century copy of the original of Antiquity carved from a single block of Carrara marble unsigne...

Art Deco Style 20th century hand carved veined white carrara marble vase urn vessel Italy. This Vase is very heavy and amazingly crafted, very decorative on a Classic Italian Table...

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...

A Very Fine 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 dancing and singing group of Italian villagers, dancing and singing in a lively embrace, holding hands and arms. The joyful 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...

Louis XVI mantel clock "Pendule à cercles tournants" France, late 18th century / early 19th century Mercury-gilt bronze, Carrara marble, enamel and copper. In working order. Key pr...

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...

Italian gilt bronze sculpture of an eagle on a rectangular white Carrera piece of marble. The high quality of the gilt work and the early age makes the eagl...

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 ...

A pair of Neoclassical Grand Tour Italian hand carved marble busts depicting Roman Emperors, presented as pendant figures and raised on turned marble socle bases. One bust represents...

A very fine and exceptionally carved Italian 19th-20th century Baroque Revival style whimsical white Carrara marble wishing wellhead, raised on an octagonal two-step marble base. The intricately carved marble relief circular wellhead depicting carved figures of dancing and cheerful children (Putti) among vines, flowers and fruits, dancing and playing musical instruments with a backdrop of castles, landscapes, forests and wreaths, Florence, circa, 1900. Note: We have part II video of this amazing Wishing Wellhead. Please feel free to request a copy. Literature: A similar wellhead was sold by Jan's & Co. Fine French Antiques, Inc. in 1999, provenance the Atkinson/Kirkeby Estate and it is illustrated in "The Estates of Beverly Hills" by Charles Lockwood and Jeff-Hyland, page 150. Another similar is currently on display at the gardens of "The Elms" mansion a public museum part of the Newport Mansions by The Preservation Society of Newport County in Newport, Rhode Island. Yet another similar wellhead carved with frolicking putti with musical instruments and a dentil molded rim is located at Cranbrook House, Bloomfield Hills, Michigan, and is illustrated in B. Israel, Antique Garden Ornament...

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...

20th Century Mid-Century Modern handmade 14 inches veined tan, beige Carrara marble bowl, plate, centerpiece made in Italy. This Bowl is amazingly crafted, very heavy and decorative ...

French Louis XV Style “Tournant” Mantel Clock, Napoleon III Period, Paris, 1855 In gilt bronze (ormolu) and Sèvres enamel. The base is crafted in white Carrara marble, decorated wit...

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

Sculpture, Female torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, ancient torso, Venus torso, Greek art, Roman art Female torso carved on beautiful...

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...

The perfection in the carving technique makes this sculpture very Special. It is carved from a fine carrara white marble with artistic Perfection. The folds in her gown and drapin...

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 Highly Important and Very Rare Pair of Italian Life-Sized Carrara Marble Figures of Dancer Sculptures: Danzatrice con le Mani sui Fianchi & Danzatrice col Dito al Mento ( Danci...

A refined Louis XVI style mantel clock with matching candelabras. The case is made of gilt brass and bronze ormolu casted ornaments, the dial is enameled iron. Resting on a white marble base. Richly embellished with neoclassical ornaments, flower garlands and ribbons. The clock is made in France 1870-1880. The clock is in good condition, it have original gilding. On a wooden carved gilded pedestal. The clockwork have a 8-day movement and strikes every half our on a bronze silver plated bell...

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

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

Beautiful black Italian Carrara marble vase from the 1960s.

Magnificent Italian sculpture in Carrara marble " Torso " early 20th Century. Italy Complete height with base: 43cm perfect condition.

Exquisite Bronze & Marble Reclining Venus Holding Pomegranate, After Canova, 20th Century A finely cast and chased bronze of a reclining classical beauty, inspired by Antonio Canova...

Abstract bronze sculpture by José Luis Sánchez, Spain 1970s. Refined abstract work in bronze on a Carrara marble base. The stylized, organic forms flow into each other, creating an e...

Masterfully carved Italian Vanitas bust in solid marble from late 19th century. White Carrara marble skull combined with a red Rosso Imperiale marble Ro...

FILLI PUGI Italian, fl. 19th century Bust of the Capitoline Antinous after Antiquity Carved Carrara Marble signed verso “Filli Pugi Firenze” executed circa late 19th century Ite...

Sculpture, high relief, bas-relief, ancient Roman bust, Roman art, high relief battle, classical art, Greek art, bust, white Carrara marble, classical sculpture, carved high relief, ...

A wonderful and richly detailed Italian 19th century white Carrara marble statue of the Kneeling Venus, signed A. Pettrich Setilopia. This stunning statue is raised on an oval base w...

A pair sophisticated carrara marble and gilt bronze Candlesticks. Made in France during the 1780s. Louis XVI. Beautiful contrast between the white Carrara marble and the gilded de...

A beautifully carved Carrara marble bust of a young woman, created in France during the 1920s and signed by sculptor Paul Philippe. This piece exemplifies the elegance of the Art De...

Fine quality antique carved marble recumbent lions after models by Antonio Canova. Architectural elements most likely part of a larger el...

The organically shaped Ovum basin symbolizes tribute to the perfection within Nature. Although geometrical, the softness of the edges combines with the water surface to create an egg...

Cranio marmo, teschio marmo, memento marmo, vanitas marmo, busto vanitas, marmo bianco Carrara, scultura classica, scultura antica, busto antico, made in Italy Cranio in bianco di Ca...

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...

"Elegant and light, it seems to drift through the placid waters of the lagoon". Gondola, big elegant bowl, hand-sculpted from a solid block of Statuary marble. Bowl dimensions: Extr...

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. ...

A 19th century antique wounded sparrow bird paperweight/hunting trophy in chased gilt bronze, after Comolera (1818-1897). Mounted on pink marble. Sourced from a French collector.

This is a Marble Bas-Relief of Two Apostles. It depicts a large and heavy uprise white Carrara marble bas-relief/ sculpture of two apostles standing up together. The left one is Sain...

" Venus of the Nile " 19th century Italian Carrara marble sculpture Italy Height: 90 cm good conditions.

A Magnificent, Exceptionally Rare, Museum Quality Pair of 18th Century English Ormolu Mounted, Hand-Carved and Hand-Polished Carrara Marble Cassolettes, By Matthew Boulton. These beautiful ormolu-mounted white marble cassolettes are by Matthew Boulton (1728-1809) and John Fothergill (1730- circa 1782) published in their Pattern Book No. 1 (page 171, figure t) and reproduced in Sir Nicholas Goodison's Ormolu: The Work of Matthew Boulton (New York, 1974, page 383, figure 161). Josiah Wedgwood (1730-1795) was a close friend of Boulton's and his patterns are thought to be the source for the medallions used on the plinths of these. Boulton's medallions of classical figures are almost identical to the cameos and intaglios made by Wedgwood and his partner James Tassie. Molds for these examples can be found in the Wedgwood Collection at the Victoria & Albert Museum. All derive from the same classical source of Renaissance gems. Many gem collections in Europe were widely published at this time and Boulton's library contained A. F. Gori's Museum Florentinum (1731-1766), in which gems from the Medici collection were engraved. The subjects of the medallions on this pair are: Pomona, a Roman goddess of fruit trees, gardens, and orchards, and depicted carrying a basket on her head overloaded with fruit, tumbling to the ground, shown once on each vase. Hygeia, once on each, with an olive branch in her right hand, as seen in Tassie's reproduction of Valerio Belli's gem, and holding a snake in her left hand over an altar. This was produced by Wedgwood both as an intaglio and as a cameo. Venus & Cupid, only on one vase, showing Venus leaning against a column with a pike, and giving a helmet to Cupid. Aesclepius, Greek GD of medicine, only on one vase, depicted with a snake wrapped around his staff .The last medallion subject is either Diomedes or Perseus, shown once on each vase, depicted as a conquering hero. Boulton asked patrons to choose from a limited repertoire of motifs, and therefore each vase or pair of vases is adorned with their own combination. Boulton used nine medallion subjects on recorded vases of this type. PROVENANCE & COMPS Another pair of this model, with slightly less elaborate lids and finials, from a private collection are illustrated in Goodison's Matthew Boulton: ORMOLU, (page 379, figure 153). A further example is in a private New York collection. This pair, which was acquired from Hotspur in 1981, was formerly in the Collection of Marjorie Wiggin Prescott, sold Christie’s, New York, 31 January 1981, lot 76. The Prescott Collection was one of the most important English furniture collections of its time. The sale consisted mostly of late 17th and 18th century English furniture...

Antique male marble torso, circa 1850 A copy of the roman marble statue Apoxyomenus in Musei Vaticani in Rome (I sec d.c.) copy of a greek bronze athlete statue...

Pair of beautiful neoclassical vases of Italian manufacture of the early 20th century Roman school made of Carrara marble. These unique objects were found in the most charming homes ...

Sculpture representing a skeleton of a beggar in Carrara marble. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL Tags: Scultur...

Carrara marble double column abstract sculpture. Carved abstract detail and geometric forms. Columns slide onto rods on a marble base. Unknown artist. Signed B. 88.