Marble Decorative Objects

Smallest model of the famous "Clarté" “Lueur Lumineuse” Original “Max Le Verrier” Art Deco style, France. Table lamp, lighted sculpture made in spelter / white-bonze (french = Régu...

This Vase is a sculptural decorative object made from solid white marble. This elegant marble vase features clean lines and a classical silhouette, offering a timeless presence for c...

Spectacular Sculptures "The Four Seasons" in Carrara Marble 19th Century total height: 225cm statue height: 183cm base: 48cm x 63cm base height: 40cm good condition for the period

A powerful study of a young stone-carver, he rests against the stone of his tradecraft, the young sculptor simple hefting his hammer in one hand and...

Early 20th century Italian alabaster bust of a little girl reading a book standing on a period walnut pedestal column. Bust is apparently unsigned. Bust Height 14" Width 10" D...

This exquisite small bronze sculpture features a beautifully stylized female bust, capturing the fluid lines and elegance reminiscent of the Art Deco and Art Nouveau periods. The hea...

An organ urn (in French often called coffret à viscères or boîte à entrailles), dating from the Louis XIV period (second half of the 17th century). It is a funerary container used to...

This bronze sculpture in the style of Rembrandt Bugatti is a remarkable example of 20th-century animal art, capturing elegance, vitality, and emotional depth in a single form. Measu...

A stunning and most impressive French 19th century Louis XVI st. Ormolu, Onyx and marble clock and pedestal, retailed by Camerden & Forster. This most rare set is comprised of a rich...

Grand Tour Carved Marble Statue of the Empress Livia Drusilla After the Antique. A true depiction of the Classical Statue of Rome's First Empress. Livia Drusilla (30 January 59 BC – 28 September AD 29) was Roman empress...

Gothic Armorial Shield with Rampant Lion
White veined marble · Tuscany, probably Pisa · first half of the 14th century 26 x 24 x 12 cm This panel of white veined marble is carved in...

Clarte, iconic 84 cm / 33 inch tall Art Deco style figural table lamp of a standing nude holding a glass shade by Max Le Verrier with foundry mark. Designed in 1928. Posthumous conte...

Round table with golden metal base and marble top - Signed Copies

This exquisite mid-nineteenth century sculpture features a nude woman in silvered bronze with parcel gilt accents. The female figure embodies grace and allure, reminiscent of the god...

Stone is a vase hand carved from the stunning Green Luana marble, coming from the only existing marble quarry in the world. Quarried in the Apuan Alps (Tuscany, Italy), Green Luana m...

Very impressive Art Deco style sculpture of a walking lion by the famous French sculptor Max Le Verrier. Art metal with beautiful dark brown patina on a black marble base. Contempo...

A striking and complete Swedish Art Deco desk set in richly veined black marble, dating from the 1930s. This refined ensemble exemplifies Nordic Art Deco at its best—clean architectu...

A Very Fine & Spectacular Pair of French Empire style Bronze & Bronze Dore 12 light Figural Candelabra, late 19th Century, each depicting a standing winged Victory with outstreached ...

Late 19th century Napoleon III 'Vieille Garde' sculpture with inkwells and marble base inkstand by Armand Le Véel and Susse Frères, France By: Armand Le Véel, Susse Frères Material:...

Italian 1920s Art Deco wrought iron and marble bird inkstand.

This nice mortar is made of white marble. This is a French work from 18th Century

Magnificent high quality reproduction of Antoine-Louis Barye‘s famous Python Killing Gnu, cast in bronze with a 1” black marble base. This piece it’s large and heavy and would be and...

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...

the hand-carved, solid marble urn in the classical taste with short everted neck above a tapering body adorned with relief carving featuring a Greek Key perimeter band at the shoulde...

Pair Antique French Gold Bronze with cut crystal & marble candelabra, circa 1880. These small three arm candelabra will work nicely in a variety of settings and they are marked at a...

Evoking the organic architecture of Australian coastlines, the Pietra Vase features extractions modelled from hand-cast forms. An innovative vessel that connects nature and craftsman...

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...

Each urn cast with frieze of classical figures, raised on a bronze-mounted rouge griotte square marble base. The lampshades are silk and custom made by Blanche Field...

A handsome and most decorative true pair of French 19th century patinated Bronze and Rosa Sienna marble statues of Grenadier Guards, attributed to Étienne-Henri Dumaige. Each wonderf...

A superb quality bronze sculpture of Cupid with his bow by the renowned French artist Gustave Doré, made in Paris, France, c. 1876. Entitled ‘Amour lançant une flèche’ in French, th...

Exquisitely sculpted, probably by an Italian artist, this lovely and beautiful marble sculpture depicts a nude Venus figure emerging from a scallop shell,...

Rococo girandoles composed of gilt metal with stepped marble bases and etched lead-crystal prism decoration (ca. late 19th Century, France). The centerpiece candelabra...

Cranio marmo, teschio marmo, memento marmo, vanitas marmo, busto vanitas, marmo bianco Carrara, scultura classica, scultura antica, busto antico, made in Italy Sculpture on yellow br...

19th century pair of gilt bronze ormolu / marble Louis XV style six light gilt candelabras. Each candelabra featuring with a pair of barefooted maidens draped in fabric with matching...

An early 20th century bronze figure of a nude man throwing a rock, marked 1905 to the base along with a monogram of the letters ‘S’ and ‘W’. Mounted on a contrasting white marble pli...

The sculpture realized by a Roman sculptor as from the Roman academy tradition, is carved with white marble. The sculpture represents the face of a young Julius Caesar, Julius Caesar formally known as Caesar was a Roman general and statesman who played a critical role in the events that led to the demise of the Roman Republic...

A fine 19th century clock garniture, the clock with a finely cast and patinated bronze cherub sitting on a rouge marble column with ormolu mounts, he carries the clock movement in a ...

An elegant early 20th century Italian marble bust of Homer, the legendary ancient Greek poet traditionally credited as the author of the Iliad and the Odyssey—two foundational works ...

19th century stone mortar from Italy. Hand-carved marble mortar in a conical shape with four handles. One handle notched with a channel for pouring. Beautiful as a sculptural accent ...

Sculpture of a pair of Sphinxes in white marble, contemporary work in the taste of Ancient Egypt, XXIst century. Sculpture of a pair of sphinxes in white marble, contemporary work i...

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 very rare pair of 19th Century Sienna marble urns of exceptional quality with finely cast polished brass mounts throughout. This fantastic pair are beautifully modelled in strikin...

Original 19th century bronze by Auguste Moreau (1834-1917) "Jeune Fille a L'oiseauuguste", Young Girl With Bird, or Young Lady Coming Through The Reeds". Young woman walking among the reeds with a bird, dove, at her feet. Beautiful bronze with rich brown patina on marble base. Auguste Moreau was a French sculptor, who was born on 22 February 1834 in Dijon and died 11...

Ornate pair of mid century brass and cut glass decorative candlesticks circa 1950 Machined brass stem, with hanging cut glass droplets. Standing on small green/grey marble plinth. ...

Elegant, romantic, and rich in classical symbolism, this exquisite French bronze putti sculpture is a captivating work of decorative art that embodies the timeless beauty of nineteen...

A hand-carved Indonesian marble ring on stand, contemporary. 10" Diameter, 14" High (mounted). Stand base: 7" W x 4" D

This sculpture in fine white P marble, black Belgian marble and rock crystal is a tribute to the famous car manufacturer Lamborghini, specifically the Aventador LP700-4. The Lamborghini Aventador is a mid-engine sportscar produced by the Italian automotive manufacturer Lamborghini launched on February 28th, 2011, at the Geneva Motor Show five months after its initial unveiling in Sant’Agat Bolognese. The first model, the Aventador LP 700-4, was designed by Filippo Perini. It was inspired by Lamborghini's limited-edition Reventón and the Estoque concept car and is the successor to the Murciélago. Among the design features were its signature scissor doors...

Art Deco sculpture called “The Dance”, made of brown patinated bronze with a Portoro marble base. Made by Pierre Le Faguays (1892-1962). Signed Le Faguays. France, CIRCA 1920.

A weathered 19th century Greco-Roman Hellenistic style mythological stone sculpture of a bearded Hermes. The lithe messenger is modeled as a powerful classical male torso with crosse...

Art Déco spelter egret sculpture with marble and alabaster base signed by Julcame Reg, France By: Julcame Reg Material: metal, spelter, zinc, lead, alabaster, marble, stone Techniqu...

Italian marble sculpture of a lion on the hunt by Joseph Frugoni (1897-1923). In very good condition.

Art Deco bronze sculpture male bust by Ugo Cipriani. Patinated bronze. Belgian black marble base. France 1930. Literatuur: “Art Deco sculpture” Alastair Duncan.

A very fine French 19th century Patinated bronze Figure of "Milo of Croton and the Lion" after the marble sculpture of Milon de Crotone by renown French...

Antique French Green Onyx Champlevé Enamel Marble Ormolu Pedestal Clock French, Late 19th Century Height 136 cm, Width 41 cm, Depth 33 cm An impressive French pedestal clock in gr...

Large carved white marble campagna-form garden urn Continental, 19th century Measures: height 60cm, diameter 42cm Crafted from white marble, this fine garden urn is carved in th...

Magnificent vintage figural large hand carved marble embracing couple sculpture & slate tile covered plywood pedestal. This fabulous piece is signed but we have been unsuccessful in ...

Art Deco bronze sculpture nude with garland by Joe Descomps Cormier. Patinated bronze on marble base. France 1925. This bronze is ill...

Bronze Mounted Marble Oval Centerpiece Rare variegated marble tiered base surmounted by large ovoid basin, bronze mounts in scrolled and lion mask decoration . French Circa 1880 ...

‘Vanity’ is a marble & bronze wall light that epitomises boldness and contrast. In ‘Vanity’, the marble body becomes a vessel of time, suggesting stability and permanence, while ...

Impressive mantel garniture composed of a central clock surmounted by a winged sphinx and flanked by two obelisks. The ensemble is richly decorated with Egyptian symbols engraved and...