European Decorative Objects

Vintage Jose Dunach Bronze Lady Golf Figure. A very nice French Art Deco style sculpture of a lady golfer mounted on a round naturalistic base, the golfer ...

A scarce and stylish Austrian Art Deco Goldscheider, Wien, pottery figure of a young girl with a dog dating from circa 1930. The novelty young girl figure stands on a rectangular bas...

A Pair of Artistically created birds for table decor, silver-plated roosters - ideal for a coffee table or bookends. These figures are Classic Hollywood Regency! They are each unique...

A 1950s lilac Murano glass hinged box with facetted lid and silver metal edge detail and hinge by Giovanni Cendese, Murano, Italy.  

A Handmade Victorian Burr Walnut & Inlay Tea Caddy With Brass Hinges A tea caddy is a box, jar, canister, or other receptacle used to store tea. When first introduced to Europe from Asia, tea was extremely expensive, and kept under lock and key. The containers used were often expensive and decorative, to fit in with the rest of a drawing-room or other reception room. Hot water was carried up from the kitchen, and the tea made...

This is an antique travelling vanity case. An English, coromandel jewellery box, dating to the early Victorian period, circa 1850. Striking...

Rene Lalique Electric Blue Glass Espalion Vase. This pattern features a mosaic of fern fronds. Molded makers mark, 'R LALIQUE' and engraved, 'France'. Book reference: 'R. LALIQUE Cat...

Headboard with large Brutalist bronze sculpture, model "Aurora" by Frigerio, Italy, 1968. The headboard comprises a large Brutalist sand-cast sculpture, overlaid on an arc of textured lacquered metal, which has a deep gold finish. The piece is in very nice vintage condition. We have left the sculpture unpolished and it has a developed an aged patina, ranging from brown to gold. There are minor losses to the finish of the headboard frame, both the arc and the cross-bars. The sculpture is bolted to the bed frame; it appears it could be unbolted and used separately, though we have not tried to do so. Approximate dimensions: Sculpture W 173 cm x H 49 cm Headboard W 185 cm x H 108 cm Please be aware this listing is for the headboard only. The remaining three sections of the bed surround...

A truly exceptional Art Deco Gentleman's smoking compendium, beautiful quality by the highly sought-after silversmith, Mappin & Webb. This impressive piece stands on four original...

Inlaid with floral sprays of engraved mother of pearl and brass From our Sewing Box collection, we are delighted to offer this William IV Rosewood Inlaid Sewing Box. The Sewing Box ...

KITCHEN JARS A set of six stylish French kitchen storage canisters with lids. Graduating in size Original French labels for Sucre (Sugar), Ca...

Antique Coromandel and Brass Bound Campaign Humidor. The cigars depicted are for illustrative purposes only.

A very stylish and elegant Hungarian porcelain vase hand painted with Islamic influence floral designs by renowned maker Zsolnay and dating from...

Superb quality antique Victorian marble mantle clock having a black marble case with quality bronze figures columns and a plaque circular brass bezel ornate dial with Roman numerals,...

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

Mid 18th century hand painted traditional Swedish chest/box circa 1750. Stunning traditional Swedish box hand painted in the original paintwork.   Decorated on all sides with swags ...

Rare pair of funerary sculptures of a male and female likely husband and wife, carved in marble and housed in substantial cherry wood frames with ebonised slips. Each portrait has a...

Pair of brutalist aluminium and brass candlesticks by David Marshall (c. 1980s). These brutalist style candlesticks are both weighty and tactile with the maker's mark impressed on th...

For your consideration is this super stylish Art Deco Wood and Glass Ferranti Synchronous Mantle Clock With Working Original Movement, dating to 1938. A rare example of it's type, t...

Unbelievably delicate and superbly crafted, Italian bisque porcelain fawn figurine Miniature in size with huge appeal Highly likely to be from the 1980's Hand painted matt finish H...

For your consideration is this fabulous 1930s modernist clock originating from England. You only have to do a little research to find out how rare these clocks are, they just don't c...

Extraordinary ceramic feline sculpture attributed to Alessio Tasca of Nove, Italy Strangely elongated neck, startled facial expression and erect tail ...

A Large and Important Louis Philippe Period Gilt-Bronze Three-Piece Clock Garniture. Attributed to the Feuchère family. The clock movement by Hémon. In the Renaissance revival style. Comprising a clock and a pair of nine-light candelabra. The clock case of architectural out-shape with cherubic term figures supporting a rectangular pediment centred by an urn. The sides of the clock tower cast in relief with strapwork and foliage. The dial inset with enamel Roman numeral chapters. The twin-barrel clock movement with tic-tac escapement, silk suspension and countwheel strike to bell. Pendulum and winding key. The candelabra as twin-handled vases supporting tiered branches with candle nozzles. Modelled en suite with naturalistic scrolls and foliage. Surmounted by finials modelled as an eagle toying with a serpent. The scrolled handles flanked by cherubic figures and serpents. The bodies fronted by bacchic masks and supported on socles bearing angels. France, Circa 1835. The clock movement signed ‘HEMON A PARIS’. The clockmaker Claude Hémon was established at rue de St. Martin circa 1810-1820. Dimensions, the clock: Height : 106 cm 42 inches Width : 58 cm 23 inches Depth : 38 cm 15 inches Weight : 72 kg Dimensions, the candelabra: Height : 104 cm 41 inches Width : 36 cm 14 inches Depth : 36 cm 14 inches Weight : 28 kg (each) This magnificent clock garniture of palatial size is designed in the Renaissance revival style and dates to the Louis Philippe period. Executed in sculptural gilt-bronze with leaves, scrolls, masks and exotic birds, the naturalistic ornament represents an elaborate system of allegories and mythological iconography which recall the influence of Italian Mannerist art in France. The distinctive design reflects a new style which replaced the neoclassism of the French Empire period. With the fall of Napoleon Bonaparte, artists and designers sought a new decorative vocabulary with which to aggrandise the Bourbon restoration. With the French revolution and Louis XVI’s execution still within living memory, it seemed too soon for a revival of the style of the Grand Siècle. Instead they looked further back to the time of François I, whose patronage of Italian artists had brought the Renaissance to France. The idea of a renaissance revival appealed to the new Bourbon monarchs and their patronage ignited great creativity in the arts. The reigns of Louis XVIII and Charles X, who were brothers of the late King, Louis XVI, and later of Louis Philippe I, nicknamed the Citizen King, coincided with the enlightenment and the dawn of the industrial age. Great technical progress was made in metallurgy and casting which raised the art of bronze making to new heights in the hands of great masters such as Pierre-Philippe Thomire (1751-1843) and Pierre- Jean-François Denière (1774-1866). The renaissance provided a rich and varied source book in architecture, furniture and other decorative arts for designers such as Claude Aimé Chenavard (1798-1838) whose Album de l’ornemaniste (1835) became a reference work. Léon Feuchère (1804-1857) also produced drawings of interiors, silver, bronzes and furniture and was a scion of the prominent family of bronze castors established by his grandfather Pierre-François Feuchère (1737-1823) who had worked as a gilder for the bronze caster Pierre Gouthière before setting up a bronze foundry that would become one of the largest in Paris under the management of his son Lucien-François (d. 1841) and grand-son Armand (1797-1866). A number of drawings by Léon Feuchère have recently been discovered by the Rijksmuseum and probably belonged to the collection of Louis-Philippe-Albert, duc d’Orléans, comte de Paris (1838-1894). Louis-Philippe-Albert was the grandson of the French king, Louis-Philippe I (1773-1850), who granted him the title of comte de Paris, and the son of Ferdinand-Philippe, duc d’Orléans (1810-1842). Ferdinand-Philippe was an important collector and sponsored many young artists to create metalwork objets d’art, notably a celebrated surtout de table made by Claude-Aimé Chenavard and Jean-Jacques Feuchère (1807-1852), a cousin of Armand and Léon. Principally remembered as a sculptor, Jean-Jacques Feuchère trained in the family foundry and designed small objects, cigar boxes...

An incredible and large illuminated double faced wall clock made in England by Gents of Leicester. c.1930 Double sided wall mounted in fantastic condition in old dark blue paint. Ge...

Beautiful clam shell duck designed and made by Gabriella Binazzi, Italy circa 1970s. Clam Shell mounted on silver plated feet and decorated with silver plated ducks head.

Rare Octagonal Bakelite Wall Clock. A beautiful art deco style wall clock by renowned British clock maker Gents of Leicester. Made in England circa 1930. Gent of Leicester makers ...

Superb iconic design comes by way of this Art Deco bakelite alarm clock by the French clock makers Japy. Very desirable and rare model bakelite cas...

A superb antique Victorian sterling silver photograph frame,  with makers marks for the renowned silversmith William Comyns, and hallmarks for London 1897 Beautifully portrait  fram...

Polished bronze hand cast miniature penguin sculpture by artist Javier de la Rosa. Javier De la Rosa has created a series of bronze cast miniature sculptures that celebrate animals ...

This rare survivor, a novelty Hunter and Palmer biscuit tin made from pressed sheet metal and transferred printed to accurately look like a genuine 19th century Indian hardwood box. ...

A large 19th century French earthenware Tian bowl with a wonderful green glaze. These were used as mixing bowls in the south of France near the Spanish borde...

Antique George III superior quality mahogany inlaid eight day longcase clock having a magnificent quality mahogany case with a pergola shaped top, pretty satinwood inlaid shells, sat...

A huge and superb bronzed metal clock by the celebrated sculptor Albert Ernst Carrier-Belleuse (1824-1887). Two beautifully depicted cherubs hold the clock aloft, mounted in a bronze...

This is a charming Derby figure of a shepherdess with a garlanded lamb, made in or shortly after 1760. The figure is one half of a set called the "Garland...

This fabulous glass vase was made by Daum in Nancy, France in the 1970s. It looks very much like a piece of sculpture - no surprise given it's designer was César Baldaccini! Titled...

A Gogotte Formation Of natural form, dating from the Oligocene period (30 Million years ago). Beguiling natural mineral formation, they are the result of calcium carbonate binding w...

This is a large antique Cocker Spaniel figure. An English, plaster dog statue, dating to the Edwardian period, circa 1910. Of great proportion an...

A wonderful mid 20th Century frosted glass figure of a crouching cat with good hand finished surface detail, signed Lalique France ADDITIONAL INFORMATION Height: ...

This is an antique campaign correspondence box. An Anglo-Indian, teak and bone inlaid colonial writing case with fitted interior, dating to the late...

An exceptional, fine and impressive antique English 18 karat gold snuff box; an addition to our 19th century collection. This exceptional antique English 18k yellow gold snuff box has an oblong form with rounded ends. The body of this antique box is embellished with engine turned decoration, accented with tooled borders. This impressive antique 18k gold box is fitted with a hinged hallmarked cover ornamented with further engine turned decoration to the upper plateau; the underside of the box bears the same design as the cover. The anterior rim of the cover incorporates an impressive applied yellow gold thumbpiece, ornamented with cast floral festoon decoration. The interior of the cover is embellished with the contemporary engraved inscription 'Presented to Lieutenant-Colonel Charles Cother C.B. on his retirement from the Service by the Officers of the 83d Regiment, As a token of their respect and esteem, MDCCCXXIX'; these Roman numerals pertain to 1829. Condition This antique 18k gold snuff box is an exceptional gauge of gold, exceptional quality and in exceptional condition. The cast decoration is very sharp and the engine turned and engraved decoration is very crisp. The hallmarks to the interior of the body and part hallmarks to the interior of the cover of this English gold box...

Cartier Trinity Ribbed Silver Plated Ballpoint Pen With Red Cartier Box & Enamel Clip Stunning Example of a Must De Cartier ballpoint pen, featuring the classic trinity rings and an...

'Chroma Vug in Olivin' is a unique handblown sculpture by the British artist, Samantha Donaldson. Created from layers of transparent and coloured glass which are enhanced by the bri...

Shipping special update - We have negotiated a special flat rate shipping cost to the USA with our main US shipping partner for our 1st dibs clients of only £995 export crated by ai...

Nineteenth century Italian bronze model of Seated Hermes, stamped 'GIORGIO SOMMER FOUNDRY, NAPLES', set on marble plinth base. Dimensions: 44cm (17¼") High, 42cm (16½") Wide, Base 2...

'Bohemienne' An Art Nouveau bronze sculpture by Emmanuel Villanis (1858-1914), depicting an elegant young woman holding a lyre with her other arm raised behind her head with robes fl...

Val Saint Lambert green Sommerso core crystal ashtray dish Belgium c.1950. Presented in excellent condition, free from chips or cracks.

Set of two blue vases by Floris Meydam and Siem van de Marel is the designer at Leerdam glass works, The Netherlands. Tall art vase with over flowing c...

This is a vintage decorative figure of Moses. An English, bronze and marble statue after Michelangelo, dating to the mid 20th century, circa 1960. Striking rendition of a historic...

This rare set of four handcrafted ceramic ashtrays by Vallauris is a striking example of mid-century French design, playfully inspired by the world of poker. Each ashtray is uniquely shaped to represent a card suit—spade, club, diamond, and ace—creating a cohesive yet distinctive collection. The deep malachite-green glaze lends a rich, almost jewel-like quality to the pieces, further accentuated by the bold gold gilt borders that highlight the shape of each piece. Housed in their original faux lizard-skin presentation box, these ashtrays have been well preserved. The glaze remains glossy and deep, with no apparent signs of ash residue, suggesting they were rarely, if ever, used for their intended purpose. The gold detailing exhibits some minor surface wear, but it retains its brightness, adding to the vintage charm. Measuring approximately 8 cm in length and width, with a height of 3 cm, each piece is perfectly sized for tabletop display. While originally designed as ashtrays, their sculptural forms and opulent finish make them equally suited for use as decorative objects or small trinket dishes...

A tall and characterful glass bottle vase, handcrafted by Mdina Glass on the Mediterranean island of Malta during the mid-1970s. The glass is worked in rich, organic tones of deep ...

Very large midcentury Italian ceramic vase (circa 1950s). Its elliptical shape and distinctly modern style encapsulates its orig...

Early 20th Century French wicker champagne grape basket. Would make a wonderful log basket due to it's heavy quality. 1920. Code: 8782 Dimensions: W: 31" (78.7 cm) H: 24" (61 cm) ...

A stylish Austrian Art Nouveau twin handled art pottery vase hand painted with floral designs and made at Old Moravian Pottery around 1906. The squat ...

The unusual model bronze dating to the late 19th century cast as a patinated bronze cherub holding two large strawberries with the vine looping over the back of the cherubs neck as i...

A large black terracotta vessel from the Trás-os-Montes region of north east Portugal. Originally used for the storage of oil/wine. Heavily patinated with ripply texture. Complime...

A beautiful original antique French clock, modelled in the Baroque style in gilt bronze. It is of architectural form with an applied motif of flowers, scrolls and cornucopia. Scrolli...

A stunning and exceptionally glazed Belgian art pottery stoneware vase by Roger Guérin and dating from circa 1930. This tall bottle shaped vase stands on a narrow rounded base and is...

Priced per individual piece. Pendel/Reflex wall candleholders by Pierre Forssell, manufactured by Skultuna, Sweden, 1950s. Good original vintage cond...