Neoclassical Decorative Objects

An exceptional and very high quality French 19th century Neo-Classical st. ormolu and white Carrara marble statue of Cupid offering a rose to Psyche. The statue is raised on a rectan...

Stunning Roman Nude Male Marble Sculpture Italian or statue of David. Well executed and wonderfully proportioned figure of David as a youth, copied from the original by Michelangelo ...

Very Large Pair Antique Rococo Style Painted Sèvres Style Porcelain Ormolu Vases French, Late 19th Century Height 163cm, width 53cm, depth 48cm Crafted in the style of the celebrat...

19th Century Wedgwood Jasperware twin handled campagne urn and cover, in the Neoclassical style, decorated with a frieze of Greek figures, with palmette borders in white on a blue ba...

This late Georgian antique marble statue is after the antique, depicting a scale fragment of the eminent 2nd century statue ‘Sleeping Ariadne’. C...

Pair of monumental gilt bronze and glass floor standing candelabra Crafted in the neoclassical style, this pair of floor-standing candelab...

Pair of English urn form knife boxes with wonderful grayish white painted finish. Each urn with swag and tassel decoration and topped with an acorn finial. The top lifts to show inte...

Pair of 19th century Italian Neoclassical style marble obelisks. Classic pair of Antique Italian marble obelisks with a crest. These Italian Neoclassical style marble obelisks would...

19th-century Russian silver and cut glass swing-handled basket Russia, circa 1880 Stamped in a rectangular cartouche. 875 grade  Immerse yourself in the opulence of 19th-century Rus...

Tiffany & Co. tray - Misquamicut Golf Club (1937-1945) Realizzato da Tiffany & Co. con la marcatura Makers Silver Soldered, questo vassoio porta incisa una dedica a Nelson E. Perin, ...

Fine pair of Dore and patinated bronze figural putti 18th century two light candelabra on original Saint Anne marble plinths. Each individually modelled as ...

A red patina metal bust of a woman manufatured in Italy in early 19th century, good conditions overall, metal it has this brick red patina probably due to exposure to the natural ele...

Lovely pair of pewter candle holders with a beautiful patine. France circa 1780. Weathered condition with minor losses.

This is a mid-century Italian Greco Roman statue or figurine of a Roman soldier. It feels like it is either cast plaster or some sort of composite material. It is unmarked.

Beautifully executed bust of a female. Resembling the famous bust of Beatrice. No signature has been found. The artist remains unknown to us. Wt. 15.8125 lb / 7.1724 kg

Finely Cast Bronze Abraham Lincoln Profile Bust Bookend or Doorstop, in the Style of Victor David Brenner, ca. 1930s Bronze Lincoln Bookend or Doorst...

This exquisite 19th-century French bronze statuette is a masterful representation of Neoclassical artistry, showcasing the grace and romanticism characteristic of the era. The sculpt...

A bronzed metal urn attached to a black wood column plinth base with a brown laminated veneered burl, in the Neoclassical design style, circa 1960s. ...

Spectacular Sailors Valentines micro sea shells treasure box.

An exceptional hanging lantern clock from the 17th Century. The clock is housed within a hooded glass case with Grecian style carved columns, gadrooning and acanthus scrolled accents...

An exquisite English Royal Worcester porcelain Samuel Clarke Commissioned "Cricklite" candle "fairy lamp" standard - base, the rare figural statue in the form of a Grecian water carrier, modeled by James Hadley (English, 1837-1903), the exceptionally executed, richly detailed Neoclassical figure holding a vessel in her left hand and carrying an urn upon her head, wearing flowing robes, the body in blush ivory, the robes of green/gold hue, with gilt highlights. Circa 1898 Signed, underfoot having green printed mark, "Worcester Shot Enamel England 2 125" and imprinted markings by its side. Dimensions: (approx) 9.5" High, 3" Diameter Provenance: From the estate of Ali A. Abssi (1934-2020) and Florence Hall Abssi (1919-2014), founders of the Ishtar Gate...

Set of three silvered bronze ducks finely chiseled. French work. Circa 1970 (Each duck can be sold separately)

This Bowl is in Silver Plate. It has been made in France during the XXeme century in Toulouse by Felix Frères.

A fine pair of antique, diminutive French cassolettes or covered urns. In very finely cast, doré gilt bronze. With full figural cherub handles, ornate Neoclassical decoration, and ...

Originally one of a pair of figural candlesticks. Finely cast and chased with a candleholder now fitted with a two light modern fixture. T...

Exceptionally detailed 19th century carved bone gunpowder flask Italian, 19th Century Height 36cm, diameter 11cm This unconventional gunpowder flask, created in Italy in the 19th ce...

Italian neoclassic style cast bronze Poseidon bust with black metal stand (19th century).

This is a Lalique Frosted Crystal Nude Lady in Bubble sculpture. It depicts a nude woman in a sensual kneeling position washing her hair and covered by some bubbles. The sculpture’s ...

This exquisite 19th-century French sculpture, crafted from white marble or a similar material, beautifully captures a young dancer or muse in a moment of graceful movement. The figur...

A beautiful and very high quality Italian 19th century Neo-Classical st. white Carrara marble statue of Venus de Milo, signed G. Pettini & Figli Pisa. The statue is raised by a wonde...

Elegant carved marble sculpture of a classical female nude in the Grand Tour taste, Italian and dating to the 19th century. Beautifully modeled in creamy white marble with bowed hea...

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...

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...

An early 20th century Silverplated Lion. This particular example very well modelled. Mounted over a Portoro Italian marble base. Perfect size to...

Alabaster bust depicting Joan of Arc, whose creation is attributed to Giuseppe Bessi in the early 20th century Ø cm 27 Ø cm 16 h cm 28 Joan of Arc, also known as the Maid of Orléan...

A 19th century French silver patinated bronze borzoi on a cream marble base. A beautiful depiction of this sleek handsome dog. In very good condition wit...

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...

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

This is a 15 jewels Swiss round clock. It depicts an enamel round frontal panel painted with a colorful beautiful bouquet of flowers framed by gilded bronze Roman numerals dial. In t...

Neoclassical French Photo Frame, circa 1900 This exquisite French neoclassical photo frame dates back to around 1900 and is crafted in gilt bronze with fine green enamel details. The...

Here is a great looking set of 7 pieces of carved stone fruit with a wonderful realistic look that would make any décor colorful and classy. There are some imperfections on these pie...

A large-scale late 19th century Italian Grand Tour bronze of the ‘Seated Hermes’ after the antique, ex. private UK collection. Also known as ‘Resting Hermes’ or ‘Seated Mercury’, thi...

Pair Wedgwood basalt dolphin form candlesticks with gilt rococo foliate candle nozzles. The dolphins boldly modeled and resting atop a rectangular plinth with a border of scallop sea...

This is a large scale Italian burlwood box with neo-classical styling. It is marked on the bottom and includes the key. The interior is paper lined. The box dates to the 1960s.

Antique neoclassical style three-piece gilt bronze clock set French, late 19th century Measures: Clock: Height 57cm, width 74cm, depth 23cm. Candelabra: Height 83cm, width 27cm, d...

A wonderful and most decorative Italian 19th century Stone allegorical statue. This stunning classic female figure is raised on a square Stone base with cut corners. She is leaning o...

Impressive pair of hand carved vases in the neoclassical style, the cover with fruit finial, above an ovoid body adorned with Nereid handles and festoons, raised on circular foot and...

An exceptional and most decorative pair of German 19th century Neo-Classical st. Meissen Porcelain urns. Each urn is raised by a circular base with a lovely wrap around foliate band ...

These large, gilt bronze tripod stands have been designed in a majestic French Neoclassical style. Both stands serve to support bowls, raising t...

Nineteenth century bronze "Mercury" by the Benedetto Boschetti workshops. The model of Mercury is after the Italian Renaissance sculptor Giambologna. Mercury stands on one foot supported by a zephyr and holds a caduceus. Mounted on a circular marble base with a plaque "Mercury by Boschetti". Statue is marked B Boschetti Roma...

This neoclassical bronze bust of Hermes is cast in bronze and depicts a section of the iconic ‘Hermes of Praxiteles’ statue by famed sculptor of the classical era, Praxiteles. Also referred to as ‘Hermes Carrying the Infant Dionysus’, the original is crafted in marble and portrays God of Greek mythology Hermes standing with the baby God Dionysus. This bronze Hermes bust is a part reproduction of this iconic statue, depicting Hermes’ head, shoulders and upper torso in exceptional detail with muscular proportions and curled locks. The hand of Dionysus can be seen on the shoulder. The bronze stands on decorative socle with an engraving on the reverse that reads: Aktiengesellschaft Vorm H Gladenbeck u Sohn Bildgiesserei Hermes and the Infant Dionysus The original Hermes statue in marble, on which this plaster bust is based, resides at the Archaeological Museum of Olympia in Greece. In the full statue, Hermes right...

Pair pink floral and gilt porcelain painted urns. Pair urns with vibrant pink, mulberry and fuschia banding alternating with rich floral sprays o...

Bronze sculpture "The Slave Girl," the making of which is attributed to Giacomo Ginotti in 1800 Ø cm 15 Ø cm 20 h cm 44 Giacomo Ginotti (1845-1897) was an important 19th-century It...

Tiffany & Co. porcelain round trinket box. Tiffany & Co. porcelain round map box designed for Tauck World, Made In France. The porcelain lid cover ...

Exceptional vase 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 the top, w...

18/19th Century Parian Marble Bust Sappho 1790/1800 Neoclassicism Villa Albani This classical marble bust depicts Sappho, a famous ancient Greek poet. She lived on the island of Les...

A dark brown-glazed pearlware bough pot with pierced cover and applied decoration, made by Wedgwood circa 1785. The development of a whiteware body had been a goal of ceramicists ac...

A fine signed vintage Italian silver footed dish or vide poche. By Pampaloni of Firenze, Italy. In hand hammered sterling silver. Part of the 'Bicherografia' line. With an oval-...

A refined Wedgwood blue jasperware small dish, showcasing the iconic matte blue ground with crisp applied white neoclassical relief, one of Wedgwood’s most enduring and collectible designs. This dish features a softly scalloped rim with radiating fluted detail and a braided border of wheat, framing a central classical scene rendered in high relief. The central image depicts classical female figures accompanied by a winged cherub, drawn from Greco-Roman mythology and emblematic of Wedgwood’s close collaboration with John Flaxman in the late 18th century. These scenes were designed to evoke ideals of harmony, virtue, love, and beauty—core themes of the Neoclassical movement that defined Wedgwood’s artistic legacy. The reverse is impressed “WEDGWOOD / MADE IN ENGLAND”, confirming authentic English manufacture. The dish is finely proportioned and well-balanced, making it both decorative and functional. This piece works beautifully as a ring dish, trinket dish, or small catchall, and is an excellent example of classic Wedgwood jasperware craftsmanship. Details: Maker: Wedgwood Material: Jasperware Color: Wedgwood blue with white relief Decoration: Classical figural scene with cherub, after John Flaxman designs Mark: Impressed “WEDGWOOD / MADE IN ENGLAND” Origin: England Date: 20th century Condition: Very good vintage condition with light surface wear consistent with age; no chips or cracks observed About the Imagery: The figural relief reflects Wedgwood’s neoclassical vocabulary inspired by ancient Greek and Roman art. Designs of draped figures and cherubs were often adapted from John Flaxman (1755–1826), whose work became synonymous with Wedgwood’s intellectual and artistic identity. Such imagery symbolized idealized femininity, affection, and classical virtue—timeless motifs that continue to resonate with collectors. Styling Ideas Use as a ring or jewelry dish on a bedside table or vanity. Style on a desk or console as a refined catchall for keys or small objects. .Layer with books, intaglios, and framed engravings for a collected English look Pair with other Wedgwood jasperware plates...

These candleholders are a pair of ornate classical style bronze pieces. They feature a design with a fluted top section and a rounded urn like shape in the center. The holders are su...