Revival Decorative Objects

A Pair of 19th century, antiquarian, baroque-revival, brass, repousse, pricket candlesticks upcycled into a pair of table lamps, 27“ high Finely chased with characteristic Baroque...

Pair of Early 20th century bronze, ormolu and wooden candelabra. Patinated Bronze Pharaoh Figures. Ormolu Candle arms. Wooden bases painted to resemb...

Huge antique forged iron candleholder. The forged iron is nicely detailed with hammered stripes and several curls. There is space for 9 candles. Origin Belgium around 1900.

This pair of Meissen groups portray scenes of playful lovers in bowers of flowers embellished with mercury gilded bronze. The bowers are crowned with additional nosegays of porcelain...

Striking and meaningful work of religious art. This beautifully hand carved and good size Sacred Heart of Christ statuette is another one of our recent great finds. In our view the sculptor has perfectly managed to capture both the wisdom and serenity of our Lord Jesus Christ. All hand carved out of oakwood this Sacred Heart sculpture...

Rare large Russian malachite urn. Finely detailed on a square plinth base.

A Large 19th Century French Black Marble, Patinated, and Gilt-Bronze Vase Attributed to Charpentier & Cie. This remarkable vase is attributed to the workshop of Charpentier & Cie., ...

This vase was executed by the Baccarat manufacture, which presented several pieces with similar decoration at the 1867 World’s Fair; it can therefore be dated to this period. Founde...

This rare Renaissance Revival garniture, consisting of a clock and pair of boxes in form of chalices with hinged bonnets, is richly decorated with numerous hand-painted medallions with portraits of medieval French...

Cranio marmo, teschio marmo, memento marmo, vanitas marmo, busto vanitas, marmo bianco Carrara, scultura classica, scultura antica, busto antico, made in Italy Cranio in bianco di Ca...

A striking German porcelain urn in a rich turquoise ground/base, gold gilt detailing and classical ram’s‑head handles, decorated in the French Sèvres style, Neoclassical Revival desi...

A black and red marble clock in the shape of an Egyptian temple attributed to G. Servant, flanked by double columns inscribed with hieroglyphs and ornated with a winged uraeus, all made in two patina bronze. The clock is surmounted by a patinated bronze sphinx. Resting on four bronze faces wearing the nemes and terminating in lion paw feet. Georges Emile Henri Servant (circa 1828-1890) who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his sphinx clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York (A similar clock is now exposed at the Metropolitan Museum of Art, New York). But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles...

This is a pair of neo-classical revival style carved pine candle stands with original prickets or spikes. The addition of the polychrome paint appears to be a later addition. They ar...

Late 19th century pair of French bronze and marble candelabras, neoclassic form with white marble columns and aged gilt bronze moun...

Antique Second Empire Candelabra Sterling Silver Obelisk Form with Chains and Tassels Style: Empire, Napoleonic, Antique Origin The Netherlands, Amsterdam 1853, second Empire period ...

A beautiful and high quality pair of French 19th century Belle Époque period Neo-Greek st. Ormolu and Rouge Griotte marble urns. Each stunning urn/'Hydria' is raised by a circular Or...

A mid-19th Century well-cast Model of the Sphinx of Giza mounted on veined marble base.

Henri Etienne Dumaige 1830-1888 Cleopatra before Caesar, bronze This Orientalist group alludes to the spectacular meeting of Caesar and Cleopatra...

A 19th century Hanau sterling silver presentation box or jewelry box with hinged cover. Large 800 silver box of quatrefoil form, impressive weight and a richly gilt interior The cove...

These impressive Egyptian Revival obelisks are crafted of dynamically patterned agate. The rare 19th-century models were almost certainly made in Italy during the height of the Grand Tour when the fervor for all things ancient pervaded the decorative arts. Rich in neoclassical elegance yet possessing an exotic worldliness, pieces such as these were extremely popular as Grand Tour souvenirs among members of the British aristocracy...

Huge floor standing carved alabaster vase, superb colours and in very good overall condition. 33" high 11" diameter You are welcome to view this item at our showroom, please phone ...

Wonderful milky- glass Murano vintage carafe or vase, probably unique piece. nr. O/3764.

This renowned clock maker, Bailey & Company out of Philadelphia are responsible for this stunning and rare set. Clock: 19.5" H x 11" W x 6"D Candelabras: 13.5" H x 10.5 W x 4" D

Vase in bucchero, Gio Ponti 1940s Rare black bucchero ceramic vase, designed by Gio Ponti in the 1940s. The work is distinguished by its sculptural and dynamic line, with a pronoun...

A strikingly impressive pair of early 20th century Egyptian Revival cold-painted spelter figural candlesticks, both showing columns cast in the form of finely modelled male & female ...

Angel. Metal in silver finish. XIX century. Angel or archangel figure made of silver metal, and standing on a base that resembles clouds. These types of sculptures were common in the 19th century both for churches and for personal altars...

Group Of 5 Earthenware Musician Cherubs, Late 19th, Early 20th.

Rare and finest Gilded bronze crucifix mounted on a oak cross. The striking details on this highest quality bronze sculpture of Christ are second to none and the antique gilt finish...

A blackened wood planter attributed to Diehl, with silvered bronze ornaments, resting on four feet gathered by a stretcher. The pot is adorned with Bacchus’ masks and other antiques patterns after designs by J. Brandely, and, at its four corners with four silvered bronze felines, which are typical patterns in E. Frémiet’s works. The whole is topped by a rich lid with a palms’ frieze, arrow cartridges with medallions, and a button. Arriving in Paris in about 1840 Charles-Guillaume Diehl (1811-1885) founded his cabinet making and decoration firm at 19 rue Michel-le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments (see “Les ébénistes du XIXème siècle”,D. LeDoux-Lebard, Ed. de l’amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown (see “l’Art en France sous le Second Empire”, Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861. In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book “Les Merveilles de l’Exposition Universal de 1867” (vol. II, pp. 133 & 149). He writes of a table of which “the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love (p. 133)” and a jewelry case where “The head in Fine Grecian style makes up the essential part of the Fine gilt bronze ornamentation” (p. 149). For this Universal Exhibition Diehl also formed a partnership with two famous sculptors : Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet...

Louis XV style writing desk. Gilt bronze, stone. Possibly French school, 19th century. Gilt bronze writing desk with a metal plate at the bottom and, at the top, a decoration based ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. Working. The two candelabras follow a model highly appreciated in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god...

Hallmarked in London in 1870 by Robert Hennell IV (with one branch bearing marks for Robert Hennell III in 1840), this wonderful, Antique, Sterling Silver Pair of Candelabra, are sup...

Ceramic Model of a Warwick Vase Ceramic Model of a Warwick Vase. After Clodion. With egg and dart rim, the vessel cast in relief with cherub heads and entwined branch-form handl...

"Highland Mary" (also known as Highland Mary or a portrait of Mary Campbell) Carved White Marble Sculpure by Benjamin Edward Spence (British, 1822–1866). A fine full-length, life-size neoclassical carved statue depicts the subject of Robert Burns’s poem Highland Mary (Mary Campbell), shown as a young woman standing in a contemplative pose. The sensual carved figure with a gentle contrapposto stance, weight resting on her left leg, right foot slightly advanced, and her head tilted downward with a solemn, introspective gaze. Her hair is centrally parted and styled in soft classical waves framing the face. She wears a long, fitted floor-length gown with a buttoned bodice and full skirt falling in graceful folds, over which is draped an asymmetrically arranged, heavily fringed plaid shawl (tartan implied through carved texture). Both hands are clasped together at her chest in a reflective gesture, fingers gently interlaced. She wears simple low-heeled slippers. The sculpture stands on a plain circular marble plinth. The work exhibits the refined carving and smooth finish characteristic of Spence’s mid-19th-century neoclassical style, with particular attention to the soft drapery, fringe details, and textural contrast between fabric and skin. Multiple versions of Highland Mary are known (including examples in the Royal Collection, Walker Art Gallery, Liverpool, and Sefton Park Palm House), with minor variations in pose and attributes; the present example corresponds to the clasped-hands composition. Signed: B.E. SPENCE Ft. ROMAE - 1862 Provenance / Literature note: Frequently exhibited and replicated during the Victorian period as one of Spence’s most celebrated works, inspired by the tragic romance between Mary Campbell and the poet Robert Burns. Benjamin Edward Spence (1822–1866) was a 19th century English sculptor, who spent much of his professional life in Italy. He was born in Liverpool in December 1822, the son of William Spence, a sculptor who later in life became a partner in a business house in Liverpool, and gave up the profession. In 1846 he was awarded the Heywood silver medal and a cash prize by the Royal Manchester Institution for a group in clay of the death of the Duke of York at the battle of Agincourt. His father was persuaded by John Gibson to send Edward to Rome. There he entered the studio of Richard James Wyatt, and also received help from Gibson. He died at Livorno (then known as Leghorn) on 21 October 1866. Between 1849 and 1867 Spence contributed to the exhibition of the Royal Academy five times: in 1850 with "Ophelia", in 1856 "Venus and Cupid", in 1861 "Hippolytus", and in 1867 "The Parting of Hector and Andromache". He contributed "Highland Mary" to the Exposition Universelle 1855, and two works, "Finding of Moses" and "Jeanie Deans before Queen Caroline", to the International Exhibition 1862. A number works of his that were not exhibited in England were engraved for the Art Journal. Works: • Highland Mary 1853, Buckingham Palace • Venus and Cupid, Philadelphia Museum of Art • Statue of Lavinia for Mr Holmes of Liverpool (1849) • Statue of Ophelia for Thomas Brassey MP (1850) • Tomb of Richard James Wyatt in the Protestant Cemetery, Rome (1851) • Highland Mary at Osborne House (1854) • Bas relief in a monument to Ann Catherine Jane Smith...

Pair of mid-20th century Renaissance Revival hand-painted ceramic jars with lids by Fratelli Mari from Deruta, Italy By: Fratelli Mari, Deruta Material: ceramic, paint, enamel Techn...

Decorative ram’s head sculpture executed in plaster and finished with a hand-applied green patina intended to evoke the appearance of naturally aged bronze. Inspired by the animal f...

Beautiful and elegant palm tree holder made of painted and gilded wood, in the shape of a pod vase. The vase has a two-handed finish and recalls the classic style of the ancient "kan...

Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris and clockwork signed Japy Frères & Cie – Médaille d’Honneur A very fine neo-Greek style clock set made u...

Small Majolica Wire Yellow Rose Basket Circa 1900. 5 by 4.5 inches.

Horn Sculpture representing a Fish Mid-Century France 20th Century

Handcrafted in Jalisco, this striking leather torso is both ornamental and functional. Hollow yet fitted with a sealed bottom, it serves as a sculptural vase for dried botanicals or ...

Pair of Mid-19th Century Baroque Revival Carved Wooden Candlesticks – Traces of Original Polychrome An evocative and sculptural pair of tall altar candlesticks, hand-carved in wood...

Vegetable bowl with lid, Morro Castle, Havana, Cuba. Earthenware. Sargadelos, 19th century. It has minor flaws. Vegetable bowl with handles and a lid on which a landscape can be se...

Pair of French Egyptian Revival candelabra by Ferdinand Barbedienne (France, 1810-1892) Two-arm candleholder extends above a stylistic Egyp...

Imposing Pair of Italian Giltwood Altar Candlesticks – 19th Century This striking pair of ecclesiastical candlesticks originates from Italy and dates to the mid-19th century. Standin...

Signed Diehl à Paris. Wood and silvered copper inkwell. Central drawer ornamented with an escutcheon and flanked by two small lateral drawers forming two containers, surmounted by a lid representing a nestling. Central niche ornamented with a winged creature. Inkwell flanked by two felines. Toped by a penholder representing a Moorish head resting on an eagle claw. This exceptional piece was realized thanks to the collaboration of ornemanist J. Brandely, sculptor E. Frémiet and cabinet-maker C.-G. Diehl. The motif of the fantasy creature dear to Diehl, is to be seen on the famous cabinet made by him in 1867 and now exhibited at the Metropolitan Museum of Art in New York (Inv. 1989.197). Arriving in Paris in about 1840 Charles-Guillaume Diehl (1811-1885) founded his cabinet making and decoration firm at 19 rue Michel-le-Comte in 1885. His workshops produced elegant little pieces of furniture in rosewood and thuja and novelties with bronze and porcelain embellishments (see “Les ébénistes du XIXème siècle”, D. Ledoux-Lebard, Ed. de l’amateur, 1982, p.164). It was his luxury boxes, however (liqueur cellarettes, cigar cabinets, games boxes, cashmere cases, jewelry cases) which assured Diehl’s renown (see “l’Art en France sous le Second Empire”, Exposition Grand-Palais, Paris, 1979, p.133). Already rewarded with a bronze medal at the Universal Exhibition of 1855 in Paris, he exhibited a jardinière with china columns and a liqueur cabinet at the Industrial Arts Exhibition in 1861. In collaboration with the designer Jean Brandely (active from 1867 until 1873), Diehl renovated his decorative repertory and created astonishing pieces of furniture in the Grecian style which had a dazzling success at the Universal Exhibition in Paris in 1867, where his cabinets also won a silver medal. Certain motifs were so typical of Diehl’s work that they received extensive commentary by the art critic J. Mesnard in his book “Les Merveilles de l’Exposition Universal de 1867” (vol. II, pp. 133 & 149). He writes of a table of which “the pendant bearing hooks and the fan shaped radiating motif which ornaments the entablature are engraved with love” (p. 133) and a jewelry case where “The head in fine Grecian style makes up the essential part of the fine gilt bronze ornamentation” (p. 149). For this Universal Exhibition Diehl also formed a partnership with two famous sculptors: Emile Guillemin (1841-1907) who carved the relief for a mahogany sideboard with galvanic gilt bronzes (Orsay Museum, Paris, Inv. O.A.O. 992) and Emmanuel Frémiet (1824-1910) who executed the low relief for a cedar medal cabinet...

Hallmarked in London in 1934 by Albert John Wilkins, this very handsome pair of Sterling Silver Candlesticks, are a wonderful Arts & Crafts & Gothic Revival mix of styles, and would fit a large candle, similar to an alter...

Attributed to Emile Herbert, French, 1828-1893. Comprising a central clock and a pair of flanking lidded vases, the clock on a red and black marble base with Pharaoh busts...

Refined gilded bronze clock with splendid gilding. The piece features classical decorations, typical of the period, with festoons and musical instruments. At the top, a guitar rests on a musician...

- This stunning, massive, flower vase is a wonderful statement and conversation piece. - It is beautifully thrown and painted by one of Italy's leading family potteries. - Roman Charity...

This antique Castle pattern sterling silver table box was made by The Loring Andrews Company of Cincinnati, Ohio. The hinged box is quite ornate and bears highly detailed all-over r...

A stunning & superbly cast 19th century parcel gilt candelabrum in the Rococo taste, showing a sculptural central column of entwined bronze & parcel gilt bronze, rising from a pierce...

A compelling round 19th century Paris porcelain box by Bloch and Bourdois. With raised gold decoration, hand-painted vignettes and floral sprays, and a gilt bronze mount. Base ...

This is a set of 5 Rudolstadt Volkstedt Figurines representing various putti or cupids. The figurines are beautifully detailed with hand painting, s...

Female Figural "Melodie" Sculpture / Mantelpiece French Empire Revival "A neoclassical sculpture of a woman (representing classical allegories such as "Melodie") holding a lyre. P...

Antique 19th century Austrian Renaissance revival solid silver enameled lidded bowl / trinket box, the body supported by four scroll feet, beautifully enamelled throughout dipicting ...

A very attractive 19th century Egyptian Revival bronze furniture mount, cast in the form of a bust of a goddess wearing a tasseled robe, and ado...

An early 19th century French eight day silk-suspension, striking clock, contained in ormolu case mounted with vases and urns of flowers with well-cast b...

A fine neoclassical Revival gilt and patinated bronze Tazza. The circular dish centred by a gilt-bronze roundel of the Greek God Zeus enthroned, flanked by chimerical handles and ...

A good 19th century Venetian Italian Gondolier torchere stand, of typical Venetian form, polychrome painted with the softwood carved figure holding the shaped silvered top and a bunc...