Carrara Marble Decorative Objects

An extremely well carved pair of Statuary Carrara marble busts on marble pedestals, by important sculptor Odoardo Fantacchiotti.  Odoardo Fantacchiotti (11 May 1811–4 June 1877) was an Italian sculptor of the late-Neoclassic period. He was born in Rome, but his family moved to Florence. In 1820, he enrolled in the Accademia di Belle Arti di Firenze. At the Academy, he studied under S. Ricci, and first started exhibiting in 1828. Gaining the patronage of the Grand Duke, he continued his studies, following the ideas of Aristodemo Costoli of depicting the "bello naturale". In 1839 at the Academy, he exhibited the work of the Massacre of the Innocents. In 1840 he was named professor at the Academy. Among his public works are the statue of Boccaacio and dell'Accorso for the ground floor niches of the courtyard of the Uffizi, medallions commemorating Francesco Redi and the bust of Ferdinando II de Medici for the Museo della Specola, a statue of Sallustio Bandini (now at the Accademia dei Georgeofili, but initially planned for the loggia of the Uffizi. A marble Virgin...

This elegant quatrefoil shaped white marble plaque depicts a kneeling angel in high relief mounted on a bespoke steel stand. Intricately carved, the angel is left facing, kneeling on...

A spectacular pair of Italian 19th century large scale white Carrara marble urns. Each impressive urn is raised on a square base with a fluted socle pedestal. The smooth body has a r...

This handsome depiction of a Victorian lady with her Dog is well carved and beautiful on all sides. It comes With a separate base for presentation. It is antique and A fine garden pi...

This sculpture has great appeal due to the characteristics it employs with joyful Children dancing and playing a horn. The draping surrounds the piece in A graceful way. It is prese...

An elegant and high quality pair of French mid 19th century Louis XVI st. Glass, Ormolu and white Carrara marble candelabras. Each stunning three arm candelabra is raised on a white ...

Pocket emptier Mid-century art deco carrara marble emptier, Italy This elegant valet tray, handcrafted in Carrara marble, is a fine example of mid-20th-century Italian Art Deco desig...

Italian sculpture " Egyptian Memento " Carrara marble 20th century Measure: H: 52cm 20th century Marble sculpture Very good condition.  

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...

An impressive and high quality Italian turn of the century white Carrara marble statue of Michelangelo's David. This iconic and world renowned statue is supported on a square mottled...

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, ...

19th-century white Carrara marble sculpture "Bathing Venus." This sculpture depicts the goddess Venus in a pose of modesty as she covers her pubis with a cloth, caught in the act of...

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 fine quality alabaster sculpture of cupid with a butterfly. Nude figure of cupid with a butterfly, sitting on a rock, his bow and arrow on the ground with the flowers. Artist: After William Adolphe Bouguereau...

Exceptional, hand carved all the way around, 17th century, Carrara marble bust of Athena in a helmet surrounded by a laurel wreath. Fabulous expression,...

A Louis XVI period mantel (fireplace) clock by Bruel of Paris Constructed in Carrara marble and ormolu, rising from an ormolu dressed elliptical base supported by bronze toupie feet, the figures of Psyche and Cupid rest on a rocaille ground, housing the eight day twin train clock...

A most decorative and finely detailed Italian 19th century white Carrara marble statue, signed G.F. Lapini. This wonderful statue is raised on an oval marble base where the boy is st...

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 very fine Italian 19th century carved Carrara marble figural fountain "Jardinière" modelled as a standing Putto and a Satyr supporting a sea-sh...

An elegant French 19th century Louis XVI st. ormolu and white Carrara marble clock. The clock is raised by fine circular ormolu supports below the demi lune shaped white Carrara marb...

Presenting an extraordinary early 20th-century Art Deco sculpture, masterfully carved entirely from premium Carrara white marble and Calacatta marble, known as the most expensive mar...

A stunning and extremely high quality Italian 18th century white Carrara marble statue of Diana and her dog. The statue is raised by an impressive thick square base with a wonderfull...

Pair antique French Carrara marble and bronze D'ore candelabra, Circa 1880.

A large bust of a noble man from the end of the 19th century in carrara marble signed by French sculptor, Joseph Vallet, who born in La Boisiére du Doré on August 6, 1841, and died i...

Carrara and Breccia marble sculpture, signed L.C. Firenze, Italy, circa 1890. Signed "Scelta dum fiore" in the front.

Bust and portrait of a young girl in white Carrara marble, created by the sculptor Joseph Cozlin, a student of the renowned sculptor Joseph FABISCH (1812-1886). A very fine piece, in...

Satyr sculpture, satyr bust, satyr with grapes, marble satyr Satyr's head with grapes carved on beautiful white Carrara marble, Resting on a turned base of white Carrara marble The...

Defined by a balanced cylindrical silhouette, this modern table lamp is expertly handcrafted in Calacatta marble with a matte finish. The piece is completed with an extra large LE...

Carrara marble sculpture "Ariadne on the Panther" signed A. Frilli, Firenze, Italy, circa 1890. Dimensions green marble pedestal: 114 cm.

A Large Pair of antique French Louis XV/XVI Patinated & Doré Bronze Putti Form Candelabra on Marble Bases. This Large Pair of 19th Century French Patinated and Doré Bronze Putti For...

An embodiment of sculptural fluidity, this two-piece Carrara marble fountain dates to the 1980s and evokes the aesthetic of German sculptor Paul Brandenburg. Carved from solid Carrar...

Finely carved Italian Carrara marble Title: Amore E Psiche Artist: Pasquale Romanelli (1812-1887) Origin: Italian Date: 19th century Signature: Signed Prof. P. Romanelli/Fire...

Portico clock from the Empire period, circa 1810, with an architectural design in white marble, accompanied by very simple ornamentation in mercury-gilt bronze with finely chiseled...

Brazilian modern white Carrara marble sculpture on black granite base by Fatima Fontes, circa 1990s.

An elegant pair of French 19th century Louis XVI st. white Carrara marble and Ormolu urns. Each stunning lidded urn is raised on a stepped square Ormolu base with concave corners. Th...

A fine pair of 19th century French classical figural candelabra with fine gilt bronze mounts. Marble base

A spectacular and highly detailed Italian early 19th century white Carrara marble statue of Rebecca at the well, signed by Carmelo Fontana (1775-1825). Rebecca is standing pro...

The exquisite and fine set comprises a central lyre-form mantel clock and a pair of matching candelabra, all constructed in white marble mounted with gilt bronze. The clock’s lyre-sh...

Abstract interlocking Carrara marble sculpture by Andrea Cascella (1919-1990), Italy 1987. A refined abstract sculpture composed of three interlocking elements. The stylized, rounded...

19th Century Italian Carrara Marble Sculpture of Sleeping Putto We are pleased to offer this finely carved mid nineteenth century Italian Grand Tour marble sculpture. A sleeping put...

As part of STONE VALLEY first artistic collaboration called "Pierre Partagée", we invite you to discover pieces of art from Maurizio Toffoletti’s personal private collection. Here, ...

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...

Carrara marble sculpture signed Luca Madrassi, Paris, circa 1890. Art Nouveau period.

White Carrara marble mortar with carved decorations complete with wooden pestle decorations make this mortar a unique piece the measurements are h cm 11 diameter at the handles 26 cm...

Antique 19th Century Italian carrara marble statue, "Venus D'Medici" By Antonio Frilli (1860-1920). Height with pedestal: 86 inches Height of statue alone: 64 inches (Pedestal is 2...

Italian Sculpture " Egyptian Pharaoh " Carrara Marble 20th Century H: 52cm 20th Century marble sculpture very good condition      

A sculptural Italian marble soap tray from the 1970s, elegantly carved with a minimalist sensibility. The rectangular form is softened by gently rounded corners and a shallow concave...

Magnificent hand carved Carrara marble sculpture of a lioness head from Rome. Mounted on a metal base. Base 13.75"W x 12.25"D.

Antique French Bronze D'Oré and Carrara Marble Clock, Circa 1880.

An Italian Early 20th Century Carved Marble and Patinated Bronze Bust of a Greco-Roman Young Male. The brown patinated bronze head with a straight stare and curly hair, fitted in a c...

Pair of 18th Century Louis XVI French Ormolu Mounted Carrara Marble Pot-Pourri Vases / Casolettes on Lion’s Paw Feet This pair of Louis XVI casolettes is formed from smooth Carrara ...

Superb and large bust in Carrara marble representing Marie-Antoinette. This bust is in very good condition. Unsigned. Dimensions Height 81cm Width 47cm Depth 25cm

Horses, horse sculpture, marble horses, high relief horses, running horses, Italian art horses, made in Italy, bas-relief horses, high relief horse. High relief representing a group ...

Alto relievo carving of the highest possible quality and a completely serene image of the patron saint of music. A large oval relief of St.Cecilia, Italian, c.1850-1860 Carrara ma...

An extraordinary primitive brut sculpture created from wood and Italian marble by the acclaimed Italian self-taught artist and sculptor Luciano Bertolotto (Pompi) . Isola Rizza, Ita...

Direct carving of a portrait of a smiling young woman in white Carrara marble from the Art Nouveau period. The sculptor uses a clever technique to bring out the face, allowing the fi...

Sculpture, Male torso, classical art, Greek art, Torso, white Carrara marble, classical sculpture, torso Riace bronzes Piccolo Torso maschile scolpito su bellissimo marmo bianco di C...

Art Deco Period White Statuary Marble Bust of a Young Lady incised "ANIEV" to shoulder. From the Collection of Professor Roberto Severino, Washington, D.C. France: circa 1930

Design meets gravity. Crafted in Italy by Casigliani, this sculptural vessel is a masterclass in form, material, and contrast. Hand-turned from black Marquina marble, it features a g...

Leda and the swan carved in white marble, Italian, Risorgimento, late 19th century. Stock Number: 33150 Leda and the Swan: A Mythological Tale Immortalised in Marble The mythology ...