Neoclassical Decorative Objects

Circe Italian Neoclassical Sculpture of Early 1800s the figure is a fascinating depiction of the Goddess Circe, made in Italy in the early 19th century. The pine wood carving and ebo...

Beautifully carved Italian alabaster marble handled urn table lamp, early 20th century. Classic urn form features decorative bronze fittings, sculptural curved side handles, and a fluted column plinth...

A Wonderful Continental / Neoclassical Inlaid Satinwood Square Ormolu Jardiniere, Champagne Wine Cooler With Copper Insert In The Manner Of George III Provenance Sotheby's NYC

Neo classic vesta box by Louis Kuppenheim. A beautiful vesta box, created in Germany in the turn of the 20th century, back in the 1900. This superb pocket oval box was carefully crafted with neo classical patterns in solid .900/.999 silver. Show exceptional workmanship with remarkably details as you expect from the iconic jewelry workshop of Louis Kuppenheim. It is fitted with a hinge and a tension element for fastening opening and closing. Actually this box can be easily used as a pill box. Weight: 24.3 Grams, (15.58 Dwt). Measurements: 46 mm by 25 mm by 17 mm (1.81 x 0.98 x 0.67 Inches). Hallmarks: Stamped with German pre 1922 marks, the maker's mark LK inside an oval cartouche associated to the workshop of Louis Kuppenheim, the mark for the silver assay 900 and signed in the border rim, "LK .900". Louis Kuppenheim The company was grounded in 1854 by Louis Kuppenheim (1824-1889) and Heinrich Witzenmann, specialized in silver and gold and -enameled artefacts. On the World Exhibition in 1900 the firm received a gold medal for a letter opener. In that same year the company opened a branch in the Rue Richelieu 67 in Paris. In these years some designs by Hans Christiansen were executed, amongst them very delicately enameled silver cigarette cases. The enamels on the several silver and gold pieces was of very high standard, and sometimes even gems like rubies were applied. Very famous were the ladies silver vanity cases with cute animals like cats and monkeys...

A beautiful coffin shape trinket box encrusted with shells. This box would be stunning on a dressing table, side table, or coffee table. Its hinged lid opens to fit miscellaneous ite...

A very rare Ormolu Sèvres Porcelain Gilt Bronze Candlesticks Candelabra with a hand painted scene by François Boucher. ‘P . F . Boucher’ original mark on the side, also marked with ...

A D. Brucciani (1815 – 1880) antique 19th century plaster horse. This cast figure is signed ‘D. Brucciani & Co, London’ along the side of the base. Brucciani’s firm was influent...

Italian Neoclassical Gilt Leather Book Motif Wastepaper Basket, 20th Century Description: This sculptural gilt leather wastepaper basket is an Italian example of Neoclassical reviva...

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...

Late 19th / early 20th Century Italian trinket/dresser box. Box features embossed brass frame with tortoiseshell panels. Hinged lid with inset outdoor...

Of all the glassworks created in the second half of the 19th century, the most difficult to perfect were those done in cameo. Very few artisans ever achieved success in hand-crafting...

A refined Wedgwood blue jasperware lidded box, featuring the iconic matte periwinkle-blue ground with crisp applied white classical reliefs, a hallmark of Wedgwood’s neoclassical pro...

Pair of mid century Bucking Bronco horse figures with articulating back leg.

Delft blue and white “Schosse” urn-shape tobacco jar with lid, Netherlands, circa 1780. Decorated with coastal scene and seated “Amerindian” figure. Simple low brass lid with excelle...

This exceptional Swiss silver-gilt musical snuff box was crafted by the famed François Nicole. At first glance, the diminutive piece appears to simpl...

Early 19th Century Italian, Neoclassical, fine hinged box. Containing a selection of various hard stones and specimen marbles. The lid with the inscription: 'Marmi Antichi D'Palazzo ...

Large Rectangular Hand Painted Tin Bin Box by Chicago Globe Soap Company. The box is decorated with dancing Nymphs Fairies Nudes holding musically instruments.

Dutch Neoclassical silver tea caddy, 1805. Oval bowl; cover hinged and domed with silver-mounted wood finial. Beading and fluting. An austere vessel for keeping fresh the precious le...

This elegant late 18th-century Worcester Porcelain dish is fluted and decorated along the border with a beautiful string of leaves painted in light green, purple, and gilt. The simpl...

Elegant mid-19th century French mantel clock, finely crafted with gilt-bronze ormolu mounts and exquisite hand-painted Sèvres porcelain panels. The clock is adorned with striking bro...

A pair of large Italian white ceramic urn vases with fruit and leave garlands. Manufactory of Bassano del Grappa. Early 20th century. Elegant decoration for you interior or gar...

Life size bronze bust of George Washington on square shaped black marble base (signed BARBEDIENNE) 19th Cent.

Pair of large, very fine carved marble garden urns of campana form with plinths Continental, late 19th/early 20th century Vases: height 100cm, diameter 69cm Bases: height 62cm, wi...

A superb Large French Empire neoclassical ormolu bronze figural jardinière, dating to 19th century, distinguished by its refined neoclassical ornament and sculptural presence. Cast i...

Luscious bronze urn on marble base having classical decoration and warm patina.

Italian, 20th century. A pair of petite blanc de chine porcelain urns with floral stem motif extending from each. Marked to underside with the Capodimonte blue mark.

Pair of handled finely chased and cast bronze and dore bronze urns/garniture.

Late 19th Century Napoleon III Portico Barley-Twist Marquetry Mantel Clock, French 1880. This beautiful and highly sought after marquetry detailed portico clock was handcrafted in Fr...

Pair of lemonwood and lacquer screens, with gold leaf designs. Italy, 20th c. Length: 165cm Width: 2cm Height: 147cm

Elegant pair of carved and ivory-lacquered Swiss pine candelabra, embellished with pure gold trim. The candelabra have a square base and a smooth amphora shape, enhanced by refined d...

This elegant Italianate giltwood frame houses a classical Madonna and Child print, inspired by Renaissance devotional imagery. The composition depicts the Virgin Mary tenderly gazing...

Marble Busts of Roman on pedestal. Early 19th Century

Antique Sailors Valentines sea Shell box with department for matches. Unusual design, collectible piece.

Beautiful Handpainted and signed Anna Davis Art deco style wooden box with a large rose on top, golden inside, lucite handle and gold ball feet.

An early flow blue ceramic trinket dish or catchall by Enoch Wedgwood (Tunstall). This dish is created from a sturdy creamy white ceramic. It is deco...

A mid 19th century statuary marble sculpture of the ‘Dying Gaul’ after the antique. This marble sculpture is a scale depiction of the larger Dying Gaul marble statue, currently loca...

Pair of cast iron planters. England, late 19th century.

French Terracotta Academic Sculpture Of A Foot. This stunning antique French terracotta sculpture of a foot is beautifully executed and makes the perfect coffee table accessory or bo...

This large mantel clock is an excellent piece of refined neoclassical design by the acclaimed Deniere et Fils firm. Deniere was one of the leading ...

White marble statue of a classical standing nude beauty in her bath, possibly depicting Venus measuring 32 inches tall. Apparently unsigned. Mounted to a variegated charcoal marble...

Carousel Horse (American, 19th C) Wood carved with traces of paint with stand. An amazing decorative statement; this charming wood carved carousel horse shows character with traces of its original paint and jointed construction. The glass eye balls and facial features is a focal point from tail to hoof. Probably coming originally from a Long Island New York fair carousel ride, this bold yet soft piece draws eyes and complimentary statements as soon as guests see it. Comes with decorative wood stand! Attributed to Parker carousel horses...

Pair of antique leather suitcases in great condition- probably they were used just for storage and nog for travel, - that’s why the handles are missing. Great decorative and storage ...

One of a kind artisan made original miniature Halloween diorama. Enclosed in a glass dome.

Fortunato Galli (Italian, 1850-1918) "Sea Nymph", White Marble Sculpture, late 19th century, signed "F. Galli"on a carved white marble pedestal. Sculpture: 64" H x 18" W x 16" D; ove...

Exceptional pair of vases in the shape of a cantharus. From a foot with overlapping moldings like strips, woven ribbons and acanthus leaves, a smooth stem rises, tapering towards t...

A stunning and rare pair of vintage glass hurricane shades, each meticulously hand-cut and polished with 24 radiant star motifs encircling the glass. The precision of the cuts and th...

A fine antique blown glass storage jar. In light to medium green glass. With a folded lip, everted neck, and a rough pontil to the base. Simply a...

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...

Pair of gilt bronze picture photo frames with lions and royal crowns, Belgium, circa the 1930s. A magnificent pair of gilt bronze table photo or picture frames. These beautiful frames feature heraldic lions and a coat of arms of Belgium that bears a lion, known as Leo Belgicus / the Belgian lion...

A pair of Maitland Smith planters or jardinières. These pieces feature a classical design with a bowl-shaped upper section supported by four legs, each terminating in a paw foot. The...

A vintage French desk accessory by Christofle, this elegant silver-plated letter opener is a refined example of 20th-century decorative craftsmanship. Featuring a circular medallion ...

A lovely antique early 20th-Century French mustard yellow tole footed jardiniere or cache pot with the original tin removeable liner. Signed "Made In France" on reverse. This gorgeous jardiniere is decorated with a hand painted gilt garland of ribbons and musical instruments and adorned with gilt bronze dolphin shaped...

This early 19th-century Wedgwood black basalt vase is a rare find...beautifully proportioned and irresistibly versatile. Its rich, matte finish complements...

Traditional Classical sterling silver picture frame, ca 1970. Reeded rectangular surround; corner paterae and leaves, and leafing volute-scroll crown surmounted by ronde (vacant). Si...

Set of three large Sèvres style porcelain vases with gilt bronze pedestals. French, Early 20th Century Large Vase: Height 162cm, width 63cm, depth 48cm. Large Vases Pedestal: Heig...

This is a good looking pair of Italian neo-classical style candlesticks. They have an elongated cornucopia that graduates downward to a detailed ram’s head. They are composition and ...

Pair of Neoclassical tall, baluster shaped brass candlesticks with a square footed base, mid to late 19th century. They have extra height in an elegant, symmetrical form with a turn...

Depictions of young angelic boys are also known as putti, or putto for a single one. Since the 17th century on they remained popular and are found in various forms. Perhaps the most known version is Cupid. Looking at their attributes time periods can be narrowed down. In this example we see a rose Guirlande and a medaillon which are typical for the late 18th-early 19th century. The Rosso Verona Marble...

Estate lawyer direct must sell to settle probate .Presents very well with carved urns, parfum, floral bouquets, garlands and pyramid. Worn condition overall. Rubbing and chipped losses to gilding revealing red bole and bare wood in areas. Chipped losses to carved elements in areas. Some dirt accumulation. Wear around urns on plinth. Later metal back and glazing to bezel. With losses. Worn dial, embossed copper. Oxidation. With later associated sunburst pendulum. Original key. Working condition not guaranteed. Small dents and dings and time wear to finish . Most Photos of Giltwood case taken outside for true lighting...

A large decorative antique fragmentary stone statue of an angel torso circa 1800, mounted on a later 19th century mahogany plinth. Reminiscent of an ancient roman statue, this is a f...