Metal Decorative Objects

Organic modern wavy tree form brass metal candelabra w/ three branch arms / circular candle cups / spiked candle holders. Aged surface patina oxidation. Great sculptural design. C...

This vase In silver was designed by the Finnish master Tapio Wirkkala, whose artistic expression consistently drew inspiration from nature. He himself described how he discovered for...

This stunning vintage Italian silver-plate, brass and wood hinged box is a beauty. The twisted brass rope design on the bottom is an interesting element that refines and raises the b...

This breathtaking 19th-century opaline glass vase is a masterpiece of fine craftsmanship, likely attributed to renowned French glassmakers Baccarat or Saint-Louis. The piece features...

This mid-century modern black metal and brass nautical clock came off of a decommissioned ship. In fact there were a number of them that would have been located in many parts of the...

Bitossi ceramic vase, Made in Italy, 1950s.  Beautiful and Rare Ceramic Vase with geometric design in multicolored glaze in blue and gray on the outside with elegant glossy black gla...

Karl Hagenauer footed copper and brass bowl. Signed bottom Werkstatten Hagenauer Wien, made in Austria, Karl. Dates to the 1950s.

This is a vintage jam jar. An English, cut glass preserve or condiment pot with silver plated spoon, dating to the mid 20th century, circa 1950. Appealing serving jar for preserves ...

A very fine and palatial French 19th century Louis XIV style Empire figural ormolu three-piece clock and candelabra garniture suite, comprising of a gilt-bronze clock and a pair of t...

This is an antique spirit decanter. An English, glass and silver Port or Brandy bottle, dating to the early Edwardian period, hallmarked in 1902. Combining a distinctive glass form w...

Superb example of an English Regency Rosewood Double Tea Caddy of traditional sarcophagus outline and unusually large size, with lavish geometric brass inlay decoration. The dome sha...

A beautiful, rare, and authentic small SWIZA 8 mechanical brass table clock. Features a fantastic minimalist design. Manufactured in the 1960s. Made in Switzer...

Italian modern typewriter Valentine by Ettore Sottsass for Olivetti, 1970s Typewriter model Valentine with rectangular base and rounded corners, in bright red painted metal. On the ...

Mid-Century metal wall sculpture signed by artist Wiley. Beautiful design that floats majestically with easy and simplicity. The sculpture is light to the eye while complex in design...

Cool vintage table lighter in the shape of a BMW cafe racer motorcycle. Made completely of metal with a hollow body. Beautiful burnished silver color with intricate details. Cool tobacco accessory and conversation piece. Working lighter...

A set of 2 candle holders, a pair of elegant and pure sterling silver large antique hallmarked three light candelabra in the late 19th-century taste. These fine candelabra have shape...

Large Antique Wooden Gents of Leicester Station Wall Clock – A An original railway station clock manufactured by the British company Gents & Co Ltd of Leicester. The clock has a...

A unique red copper kettle from the late 19th century, with a striking, unusual design. Over the years, the copper has developed a beautiful weathered patina, giving the piece a uniq...

A gorgeous pair of antique early 20th-Century French Neoclassical style brass two arm candle wall sconces. These beautiful sconces are decorated with acanthus leaves, floral details,...

Rescued from Industrial scrap yards and brought back to life in our UK workshop, our expert process allows us to create a high quality clock of luxury standards. At A.C GMT Co. we ...

Large English metal pitcher, late 19th century. A handsome early 20th century copper jug with a distinctive patina surface decoration. The large pitcher displays well with a lovely...

Carl Auböck model #4982 polished brass hook. Designed in the 1950s, this versatile and minimalist Viennese hook is executed in polished brass by Werkstätte Carl Auböck, Austria. ...

A good antique Georgian engraved silver gilt Vinaigrette by William Simpson, Birmingham, 1826. The vinaigrette having an engraved engine turned hinged lid with a floral border, the g...

This wonderful elongated abstract sculpture is by Larry Mohr and is titled Stretch with roman numerals as in 111. Dated 1978 with an edition of 1/3. It has angled forms with an exagg...

Fantastic, large mid century amphora brass vase with handle from the 1940/50s in Austria. This decorative, brass vase has a height of 21.2" and impresses...

Elegant Diskometal Vase designed by Just Andersen in the 1920s. * Diskometal vase with a slender neck, raised on a round foot. * Designer: Just Andersen * Manufacturer: Just Anderse...

Taxidermy marine natural Wunderkammer specimen, embalmed sickle pomfret (Familia: Bramidae. Genus: Taractes. Species: Rubescens). The Specimen is stuffed and mounted over a base that...

This beautiful sculpture by an unknown artist, depicting a Ndebele. Despite of occasionally mistakenly attributed to Carl Hagenauer is it undoubtedly a masterpiece. In earlier times,...

An antique Japanese brass and Cloisonne enamel vase. The baluster shaped vase is enameled with a polychrome design representing a white dragon made in the Cloisonne technique. Unmark...

The Aperture series was created to provide a beautiful quality of light by combining bounce and ambient glow. The light source is held in a hand-spun perforated brass dome on one sid...

ART DECO United States, circa 1940s Hercules and the Lernean Hydra Patinated bronze unsigned designed as a fountain Item # 410TUG09E Stark, minimal and thoroughly modernist, th...

Elegant, exotic, and unmistakably refined, shagreen has long captivated those with a discerning eye for luxury. Derived from stingray skin, this richly textured material first appea...

This exquisite picture frame by Kifu Paris is a true embodiment of modern elegance and craftsmanship. Handcrafted from rich black oak, the frame exudes a refined and timeless allure,...

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...

For your consideration, a vintage silver-plated lotus flower bowl, produced by Reed & Barton The bowl is sculpted to resemble a lotus or lily flower with overlapping petals and is c...

One of a kind Memories box to save your most loved and precious life's photos. A precious gift, the casket is in silver 925 gold-plated with Lapislazzuli . Entirely engraved by ha...

A dark-brown, black antique German coffer made of hand crafted iron, particularized with griffins, torchères and tendril motifs on the wall and pinecone mode on the lid, in good condition. The small detailed decor piece represents the Empire time period...

Tortolina 1 - One of a kind decorative sculptural bowl, hand crafted, moulded and cast in bronze in the lost wax process. Intricately crafted leaving the artist delicately imprints ...

An imposing decorative sculpture of a female torso, crafted from resin with a stone-like finish, inspired by the iconic Venus of Samothrace and classical Hellenistic sculpture. The p...

This piece was designed around the form of the artist's newborn daughter's eyes, and aptly named after her. Matthew Holleman is originally from New Zealand but now resides in Sweden ...

Part of a limited edition of six numbered pieces signed by Raffaello Romanelli, this stupendous artwork is a bronze sculpture of a young and flawless female bust. Sinuous and dynamic...

Henry Moretti Bronze Abstract Sculpture, American, signed and dated 1989. It measures 12.25" x 5.25".

Beautiful 19th century large hand-crafted decorative round polished brass box with lid delicately and intricately hand-hammered with repousse floral...

Antique Maritime Lantern "Meteorite 50811" by Meteorite Lamp Co., Painted Metal with Fresnel Lens, circa 1920s–30s Height: 25.5" with handle extended, 21" to top of lantern Diameter: 13" Base: 10.5" diameter A striking antique maritime lantern from the Meteorite Lamp Company, England, bearing its original maker's crest and brass plaque marked “METEORITE 50811.” This large-scale lantern is constructed from durable metal and finished in a faux copper paint that has developed a rich, distressed patina with appealing wear and surface texture from years of use. The lantern features a thick, clear Fresnel-style lens, designed to amplify and project light efficiently over long distances at sea. The lens is enclosed within a protective metal cage and accessed via hinged doors at the top and front. The piece remains unwired and without current illumination, preserving its integrity as a collectible artifact. It was originally oil- or kerosene-lit using a removable burner chamber, typical of early 20th-century ship lighting...

Vintage hand-carved candelabra features sculptural four-arm form in solid wood, equipped with metal candle holder inserts. Detailed arms and base add textural element to otherwise mi...

A fully restored Art Deco Style desk clock in full working condition. The frame, base, movement mount and movement cover are of a pressed metal construction and the bezel has been ch...

Beautiful Art Deco letter holder with matching ink blotter. Believed to be Italian from the 1930's - 1940's. Made of solid marble and brass. Ink blo...

Designed by French sculptor Pierre Le Faguays in 1925, this Art Deco bronze statue features a young Grecian female archer named "Diana" gracefully pulling her bow. The statue highlig...

This arresting vintage tall polished brass face sculpture has innuendos of partial tribal design meets Hagenauer meets modern. It is from the 70's...

This vintage mid century cigar caddy carousel with music box is absolutely amazing. It features a saphir blue lacquer exterior and brass metal accents. The humidor features 6 rotati...

by Matthew Holleman, 2024. 100" L, 28” W, 255cm L, 50cm W, Height is made to order. Brass, Nickel and Bronze options available. This piece is handmade from our Swedish workshop an...

A finely cast bronze portrait head in the style of the ancient Yoruba kingdom of Ife, Nigeria. This dignified bust exhibits hallmark features of c...

Vintage polychrome enamel cloisonné on brass Valentines Heart ornament. Great decorative pieces or memorable gift.

A charming and unusual French hand-hammered copper vessel dating from the late 19th-century, circa 1890, featuring a beautifully rounded baluster form, a curved pouring spout, a side...

Presenting a high-end and important Japanese doll of Musha Ningyo Samurai Doll from the Meiji period, a traditional Japanese warrior doll crafte...

A stunning example of Art Nouveau craftsmanship, this model #196 sterling silver centerpiece was designed by Johan Rohde for Georg Jensen. Crafted in 925 sterling silver and weighing...

Late 19th century set of 4 brass bell weights, English. An assembled set by W&T Avery, Birmingham, England. Includes: 4lb., 2lb., 1lb, & 8 oz. sizes. Two smallest are not marked by t...

Large Moroccan metal and clear glass lanterns.Hurricane candle lamp in hexagonal shape with vintage rust color metal finish.The top of the lantern is handcut with Moorish designs.The lantern has a small door to access the inside.Many of our customers place oil candles or tea lights inside the main section making a romantic and enjoyable decorative accent for entertaining friends and family.In a convenient portable size, may be suspended from loops or installed on any surface, as a sconce on a wall bracket or as a hurricane candle lantern...

Light-bronze Bowl designed by Just Andersen in the late 1930s. * Round bowl in light bronze alloy with chased rim. * Designer: Just Andersen * Model: LB2161 * Year: 1939 * Condition...

Antique 19th C. Ottoman Turkish Brass Inkwell Qalamdan with Arabic Calligraphy Writing.An antique 19th century brass decorated Islamic Turkish Qalamdan.An antique Turkish Brass...