Metal Decorative Objects

Atelier Le Tallec For Tiffany & Company, 20th century. One of the most collectible patterns, these boxes do not come available often. Marked to bottom.

Contemporary Green Marble Bowl on Brass-Cladded Base -Ralph Lauren-. This bowl is made of solid Italian verde antico marble with a brass-cladded bas...

Splendid Italian green brass picture frame decorated with a twirl metal frame. Inner picture size 8 x 13 centimeters

Condition: Original Vintage Condition Materials: Patinated Cast Brass Style: French Antique

Created in 2008 A unique and original work of art. Engraved brass, metal and glass slab. 32 pieces made of silver engraves brass with a dark brown finish. Sharkskin support ...

Claude Lalanne (1925-2019) A rare gilt-bronze dragonfly frame, France C. 1985, Signed on reverse Cl. Lalanne Artcurial 25/450. Measures: 4" high x 3...

Loetz For Boudon And Klur Gilt Metal Monted Glass Vase. A highly sought after vase culminating the zenith of Loetz and the Art Nouveau design. Czech Republic Circa 1900 Rubin Ruby Papillon Decor Metal mount with indistinct impressed marks for Boudon and Klur Height: 10.5 Inches x 8 Inches wide x 5 Inches deep Condition: Very good with wear commensurate of age and use with some loss to gilt, The Loetz glassworks existed in Klostermuhle, Austria, for just over a hundred years, starting from 1840. But its heyday was during the life-time of Max Ritter Von Spaun, grandson of the original Johann Loetz who had founded the company. Von Spaun took over the company in 1879 and ran it until 1908, a year before his death. He was assisted by Eduard Prochaska, his technical specialist, and together they invented, designed and produced a whole series of wonderful new types of glass, taking out several patents and winning awards at all the major world exhibitions during the 1890's and the first years of the new century. The Loetz company were amongst the leaders in Art Nouveau design and expecially in irridescent art glass. "Papillon" glass, like the vase on the left, is sometimes known today as "oil spot" glass. Another favourite Loetz colouring was irridized glass with pulled trails called "Phenomenon" glass. There were irridized vases with ribbons of metallic colours winding over the surface, and many spectacular designs with applied trails of beautiful colours, or simply pulled out of the body of the glass to form handles or decoration. About 1900 the company started collaborating with outside designers, and some great artists designed pieces for Lotz, notably Joseph Hofmann, Koloman Moser, Maria Kirchner, and Hofstatter. In 1908 Loetz was taken over by Max Von Spaun's son, also called Max, and although it struggled financially (going through bankruptcy in 1911 and again in 1931) there were several great designers whose work was produced by Loetz during those years and through the art deco period. These included Adolf Beckert...

Anthony Redmile Silverplated Figural Frog Mounted Ostrich Egg Candlestick Stamped 'Redmile London' London, Circa 1970s Fashioned as a standing a 17.5...

Jens Quistgaard tripod cast iron candle or incense holder by Dansk with original box. The modernist design looks great as just an object. 1950s. Made in Denmark.

1950s Brass Eagle on Branch Sculpture This lcast brass sculpture has fine details, a nice patina with normal wear from age.

This lovely vintage silver-plate hinged box has raised and textural designs of bamboo forms in rows. The interior is wood and stained black. It is a heavy gage and makes a fabulous d...

A rare mystery clock, attributed to famous French magician and mechanic, Jean Robert-Houdin. This total mechanical clock has a very noticeable large square glass dial, with 2 hands p...

A rare storage box or cigarette dispenser with a roll down lid from the 1930s, this is an early design by Carl Aubock I. Handmade of wood and nickel-plated brass. In good condition.

Antique figural Italian cast bronze cat (circa 1920s). This Italian marvel, born in the heart of the 1920s, is not just a statue; it's a portal to a by...

A rattan, black-painted iron and brass basket designed and produced in Italy, c. 1950s.

beautiful set of 3 18k gold plated candle holders manufactured by Georg Jensen NIB , elegant it uses .5" diameter candles.

Carl Auböck brass #4056 brass hook. Designed in the 1950s, this versatile and Minimalist Viennese candleholder is executed in polished brass by Werkstätte C...

A beautiful Art Deco Revival sculpture of Diana the Huntress with Hounds, after Josef Lorenzl, dating from the 20th Century. The decorative sculpture of silvered cast-bronze features a naked Diana the Huntress, with bow and a pair of hunting dogs, standing on a sloping naturalistic base raised on a rectangular black marble plinth. This high-quality hot cast solid bronze was produced using the traditional "lost wax" process, otherwise known as the "cire perdue" method. This is a splendid bronze sculpture and it will no doubt become the centrepiece of your collection. Condition: In really excellent condition, please see photos for confirmation of condition. Dimensions in cm: Height 30 cm x Width 11 cm x Depth 18.5 cm Weight 3 kg Dimensions in inches: Height 1 foot x Width 4 inches x Depth 7 inches Weight 6.6 lbs Josef Lorenzl (1 September 1892 – 15 August 1950) was an Austrian sculptor and ceramicist of the Art Deco period. While at the Vienna Arsenal, Lorenzl produced many bronze and chryselephantine sculptures, and captivated by the female form he became famed for his shapely dancing girls with long, elegant legs and closed eyes. These pieces of his were signed "Enzl", "Lor", "R. Lor", "Renz" or "Renzl". Occasionally the name "Crejo" appears on his pieces, Crejo having been a painter and one of Lorenzl's friends, and who sometimes applied colour to the pieces. These joint works are sought-after items. The large majority of Lorenzl's figurines were attached to Brazilian green onyx plinths. Lorenzl's talents also extended to being a gifted ceramicist. He produced pieces for Goldscheider, working from a studio on company grounds. As with his chryselephantine pieces, his ceramic works were in great demand and became the embodiment of the Art Déco period. Famous amongst these is "The Butterfly Girl" after the famous dancer Niddy Impekoven...

Anglo Indian hexagonal porcupine quill and bone inlaid box comprised of dark hardwood and inlaid with bone dots framing the panels of regimented porcupine quills. The lid opens to re...

Lovely pair of Lucite candle holders designed by Dorothy Thorpe, circa 1970's. Exceptional condition with no flaws to note. Both sparkle like jewelry.

Beautiful and special set of silver plate tray with three crystal glass bottle decanters . Two bottles provides with resin made top and splendid cameo in the Center , all bottles hav...

Pair of Extra Large Brass Deer by Sarreid, Spain 1970s

A box as precious as the jewels it could contain inside, almost certainly hand-carved in Italy with the highest quality onyx marble. Although this jewelery box dates back to the 1...

This is a rare fireplace bellows in carved and lacquered wood with polychrome decorations of flowers on a light green background. It has original leather details and the bronze spout...

Early 20th Century bronze male nude sculpture on wood pedestal base.

Antique Victorian quality marble eight day mantle clock having a quality black marble mantle clock with ornate gilded brass mounts, circular ornate brass dial with the original hands...

Round table box in 925/1000 sterling silver gold plated with fired enamels, with “paillons” in pure gold on the upper circle, fine fired enamelled miniature with hand-painted floral ...

Evoking the organic architecture of Australian coastlines, the Pietra Brass Dish is a delicate design modelled from hand-cast forms. Cast as a high-polished dish, this charming catch...

19th century pair of French figural glazed porcelain vases / urns with exterior gilt painted design scene details. Each vase / urn is in good condition. No chips, cracks, or restoration observed. Minor wear consistent with age / use. Each one stands about 19.5 inches tall x 8 inches wide X 4.5 deep pair of French figural porcelain...

PAIR Set Antique English Oak OPEN Barley Twist Candlesticks Candle Holder Brass Bobeche. Direct from England, a stunning pair of antique English oak barley twist candlesticks! These...

Here we are offering a fantastic mystery Ferris wheel bearing ball driven crystal regulator clock. Unlike traditional wind up or weight driven clock, this unique clock receives its w...

A cool verdigris bronze horse and chariot sculpture with trojan warrior from Greece, circa 1970s. The piece is in very good vintage conditione...

Lofty group of four Anglo Indian swan sculptures or objects of art handcrafted with sea or nautilus shells and hammered metalwork bases necks and heads with stone eyes. Largest: H: ...

A 19th century French velocipede of a white pony, the horse of polychromed wood with horsehair mane and set upon an iron tricycle. Deaccessioned from the MacLean Collection of Asian...

High-End Menorah Jewish Candelabrum in Blown Murano Glass, Vintage Murano Gallery 1970s. This unique Murano glass masterpiece is one of the most...

Superb Edwardian Heavy Gauge Pair of Irish Silver Butter or Bon Bon Dishes modeled as Clam Shells, raised on three ball supports. Mark of W E for Cork Silversmith William Egan & So...

Beautiful and exceptionally rare pair of bronze sculptures with a magnificent gilding, France early 20th century. Signature on the base of each sculpture "G. Flamand". By the artis...

A Bronze Koi Fish. The beautiful fish can be used as a decorative piece, a vase, and if you're really ambitious, could make a lovely fountain. A compliment to any space - living ro...

Egg Navy Blue enamel is in 925/1000 sterling silver. Egg Navy Blue enamel has fired enamels on guilloché has fired enamels on guilloché and design engraved by hand. Egg Navy Blue en...

A handsome and versatile grouping of three pairs of antique English brass beehive candlesticks, dating to the late 19th century. This trio f...

MCM lidded green marble trinket box with brass accents, circa 1970s. The box has well cut lines and features brass feet and a cool brass lizard hand...

Pair of midcentury classically styled candlesticks with a square base stylized column and engraved drip plate. Designed by Tommi Parzinger, signature stamp on bottom. Polished.

Vibrant, sleek and full of character, this vintage pedal car was once the prized possession of children all across America. A popular toy since the late 19th century, pedal cars expe...

Jewelry box attributed to Maison Bague / Maria Pergay. Good condition. Thank you

Thin stocked small scaled treasure chest - casket box in bronze applied green verdigris patina (cold paint). Suitable for storing small personal 'treasures' like jewelry, tea, tobacc...

Carl Auböck Model #4317 brass bowl. Designed in the 1950s, this incredibly refined and sculptural Viennese bowl is executed in polished and darkly patinated brass. Originally conceived as a fountain pen...

Modernist seven-candle solid silver candlestick by Hans Hollein for Cleto Munari. This piece illustrates the avant-garde spirit of 1970s Italian design. It is both an everyday object...

Seiko super tanker slave clock original aqua blue finish A reclaimed and restored maritime slave clock. These clocks were used in great numbers on super tankers, cargo ships an...

Immerse your space in opulence with this captivating pair of Louis XVI style bronze-mounted porcelain urns. Each urn is a masterpiece, adorned with a meticulously crafted bronze-moun...

Discover the epitome of elegance with this exquisite Murano glass box, meticulously crafted in Murano, Italy. Available in both large and giant sizes, this box exudes sophistication ...

Bring a touch of sophistication to your workspace with this rare Gucci-designed luxury leather desktop accessory. Crafted in Italy circa 1970, this exquisite letter opener embodies r...

Paradise Aqua and Paradise Sunshine Each glass element is handcrafted using delicate kiln-firing techniques. Not two are the same making every Paradise sculpture completely one-off...

A rare and important French "Japonsime" Emile Galle Ormolu-Mounted Double Carp Fish Pink-Glass vase, circa 1879, retailed by L'Escalier De Cristal, Paris ...

Howell and James in the style of Lewis Foreman Day. A small Aesthetic Movement walnut mantle clock with brass finials and brass feet, a pierced gallery to the top centred with a fan ...

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...

This Delmori G clock stands out for its unique design as it has a double-fiberglass structure a touch that gives a lot of personality and style to any room or space Delmori N wall c...

Fine Louis XVI style French bronze jewelry box with a wonderful Bacchanale scene of dancers and musicians merrymaking and celebrating around ...

Beautiful antique inkwell made from gilded bronze. Nicely coloured ceramic parts. The plate is made of marble. Nice bronze work with a well preserved gilding. The original glass...

Large French Neoclassical sculpture of Androcles and the Lion. Exceptional quality casting and patina. Mid 19th century. The runaway slave Androcles became friends with a wounded lion...

Napoleon III period gilt bronze and enamelled mantel set, 19th century. A Napoleon III period mantel set with its clock and two candelabras in gilt bronze, enamelled and cloisonné. ...