Cast Furniture

Beautiful color and good size vintage Italian murano fixture with mouthblown glass in painted gilt color thread metal frame. If you are looking for a stylish design, near-antique l...

19th century German, likely Berlin Iron Works, cast iron charger with mythological figures of goddesses, putti, various animals and fish in relief. T...

Wall lamp Sconce made of cast iron with clear striped glass suitable for outdoor use Weight 7.0 kg / 15.4 lb Priced per individual item. All lamps have been made suitable by intern...

Stunning large hand-cast sculptural brass palm leaf with a mixed polished and raw finish. Slight variations in the patina and polished finishes, patterns and sizes are characteristi...

This iconic Danish bread slicer was produced by Raadvad in Denmark, circa 1970s-1990s. The color of the lacquer is the original dark blue. It´s very, very rare. It also came in a sl...

A small solid brass nautical wall light. Reclaimed from old ships and restored with new electrical components. These petite fixtures were designed ...

This iconic swivelling lounge chair was designed by Arne Jacobsen 1958 for the SAS Royal Copenhagen Hotel in Denmark and is one of the most famous chairs in the world recognized by d...

Beautiful pair of heavy handmade bookends in Asian style, the elephants are made of patinated bronze, the books are made of wood with gold details, the bottom is finished with leathe...

Note. We are pleased to inform you that all shipments to the United States are free from import duties and tariffs. Rare Art Deco alabaster three light chandelier with rose and leaf...

Signed Clodion From our Sculpture collection, we are pleased to offer this French Belle Epoque Bronze of Ariadne cast after Clodion (Claude Michel). The sculpture of fine casting and beautiful patination is sculpted as a bust of a Ariadne in nature with her hair tied up and leaves intwined in her hair. The Bronze sits upon a circular socle with a square base signed to the right hand face Clodion. The Bronze cast after the original during the neoclassical era dating to the second half of the 19th century during the Belle Epoque era (c.1970-1914) circa 1875. Clodion was the alias of Claude Michel (1738-1814) a French born sculptor working in the Rococo style, especially noted for his works in marble, bronze, & terracotta. Many of Clodion’s works feature in museum collections around the world with some of his most pivotal works including The Intoxication of Wine and The Dance of Time. Ariadne In Greek mythology was a Cretan princess and the daughter of King Minos of Crete. Ariadne was known for aiding Theseus escape the Minotaur and then being abandoned by him on the island of Naxos. There, Dionysus saw Ariadne sleeping, fell in love with her, and later married her. Many versions of the myth recount Dionysus throwing Ariadne’s jewelled crown into the sky to create a constellation, the Corona Borealis...

Enchanting antique sculpture of a girl on the stairs holding a light, by Umberto Stiaccini, Florence circa 1910. This beautiful and truly elegant, sculptural table or desk lamp is...

Early Knoll Saarinen tulip table, cast iron base, oval laminate top. Minor cosmetic wear, normal and consistent with age.

1950s Century Silver Seal Hammered Aluminum Dutch Oven Roaster 6.5 h x 10 w x 8 diameter Preowned original vintage Refer to images provided

Introducing our stunning Nude Male Sculpture in Solid Lucite, Circa 1970's. This one-of-a-kind piece of furniture is a true masterpiece, expertly craft...

A 19th century antique wounded sparrow bird paperweight/hunting trophy in chased gilt bronze, after Comolera (1818-1897). Sourced from a French collector.

An original brass marine light, reclaimed and professionally restored. This vintage round wall light features a bullseye cage which is designed to protect the lamp holder along with ...

Art Deco Enameled Juicer from the 1940's. Machine age design with red enamel base. Fruit is placed in cavity and lever pulls down to squeeze out juice. Juice-O-Mat. 1940's USA. 8" h...

A Brutalist aluminium door panel with integrated handle and bronzed patina. Second half 20th century, found in Belgium. A sculptural piece, unsigned, reminiscent of the style of Bil...

Superior quality large scale Italian Grand Tour bronze of the god Silenus after the Roman original excavated at Pompeii in 1864. This very fine cast shows the god holding aloft a coi...

This exquisite brass snail sculpture captures the beauty of nature with remarkable craftsmanship and elegant form. The spiraled shell is adorned with delicate, swirling etchings that...

Pair of Faux Bois Cast Concrete Demilunes featuring thick 2" top with twig branch legs and stretchers in natural finish

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, with only a few light scratches. Two inscriptions to the base. Sta...

We are pleased to offer this 5 piece bedroom suite circa 1890. Suite comprising of a bed, wardrobe, dressing table and pair of night stands. Do...

A good antique French cast bronze sculpture bust of Ludwig Van Beethoven, circa 1890. The bronze sculpture bust depicting the celebrated German composer & pianist; Ludwig Van Beethov...

Industrial factory pendant. White enamel shade. Cast iron top. Striped glass. Weight: 6.0 kg / 13.2 lb Priced per individual item. All lamps have been made suitable by internationa...

Tall storage unit with 2 hinged doors. Internally equipped with 2 glass shelves with LED lighting and 1 wooden shelf. Structure in wood with Patina B...

Beautiful 18th century French fireback with an Allegory of Love. The date of production of the fireback, 1743, is also cast in the fireback. The fireback is made of cast iron and has...

19th century English Victorian fireplace toolset made of polished steel and cast iron. The toolset consists of three fire irons and a stand. The condition is good. ...

ABOUT An antique "Safe" cheese wedge cutter with sharp steel metal cleaver, round wooden base and metal scale. A metal lever turns the wooden wheel in pr...

This monumental mid-century conical planter is an original design by renowned Swiss modernist Willy Guhl for Eternit, Switzerland, dating to the 1950s. With its commanding presence a...

* Kindly note that we arrange the shipping ourselves to ensure a smooth, secure, and reliable delivery. This allows us to provide the best possible service and care for your purchase...

Vintage Egyptian Horus falcon sculpture by Lloyd Bryan, circa 1978. The falcon is made of cast plaster and measure 4.W x 8.5"D x 16.5"H. Very nice, wel...

19th Century French Napoleon III period fireback with two dancers. The fireback is made of cast iron and has a natural brown patina. Upon request it can be made black / pewter at no...

One of the more popular mechanical banks, and from my own long time collection of these banks. Made for children to teach them to save their money by putting a penny away and have f...

Unusually long Victorian Widows Walk fence fragment, made in the USA, circa 1880’s, constructed of cast iron. Perfect to repurpose as a decorative garden ...

Pair of Mid Century Modern Dog Book Ends on Onyx Bases. We see this set added to a current collection or resting on a bookshelf in a home library. Wonderful set to give a gift or kee...

One of a kind light fixture with a stunning “flameboyant“ alabaster "diamond" shape shade. Thanks to its timeless design, its extra large size and its truly good condition this alab...

Rare and possibly unique bronze bust crafted in 1925 by renowned Danish sculptor and author Sofus J. Nervil (1874-1941). This piece exemplifies the elegance of Danish Art Deco, refle...

A turn of the 20th century (circa 1900) French bistro table with Beaux Arts period details in the blue-gray painted cast iron base. The white marble top has a well-patinated surface,...

The Maris Mirror is an extraordinary and sophisticated decorative piece that embodies refined elegance. Designed with an intricate lacy cut, it draws inspiration from the mesmerizing...

Large and amazing work museum quality of lighting Art. The first owner of this incredible piece of lighting art must have been one of the wealthiest people in town, because this qua...

Pair of 19th century French cast iron planters with years of wear to their beautiful patina. Great overall condition with drain holes.

- Industrial factory pendant lamp in cast iron - Manufactured by Zaos in Poland during the 1960s - Light grey enamel shade with white enamel interior - Holophane glass cover and iro...

German made copper and brass bridge lights, circa 1960 by VEB  Reclaimed from bridges and gantry's of supertankers, cargo ships and load cranes. The main body is spun copper with a...

A reclaimed 1970s vintage industrial large copper and brass German cargo pendant. Made by Wiska, a German manufacturer of industrial fixtures and fittings. Reclaimed from supertanke...

A Large Pair of Cast Iron Royal Coat of Arms, 19th Century Provenance: Important Private Melbourne Collection. Description: Each coat of arms rendered with polychrome application, ...

Mid-19th Century monumental Neoclassical triple-basin iron fountain with sculptural motif of children by Val d'Osne Foundry, France By: Val d'Osne Foundry Material: iron, metal Tech...

Louis Lejeune Norwich Terrier Hood Ornament Louis Lejeune Mascots adorn the finest European & American Cars. The British Royal Family have, for many years, displayed mascots on ...

PRESENTING A GORGEOUS 19C Gustav Becker Vienna Wall Clock. Made by the famous clockmaker, Gustav Becker circa 1880 in Germany. Th...

19th century English fireplace tool set - fire irons made of cast iron and polished steel. Victorian period. The tool set is in a good condition and is fully functional.

A beautiful bronze vase with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Good condition, with some light scratches. Slightly askew. Stamped 'BRONS' and make...

Tiffany Studios Favrile Iridescent and Bronze Trumpet vase USA, New York. circa. 1920 Hand-blown Favrile glass, patinated bronze Height: 14.75 Inches X 6.5 Inch Diameter (37 × 17 cm...

A large lateral push-pull door handle of abstract Brutalist design. European, second half 20th century. A striking piece - made to span the full width of a door - formed from cast ...

Gorham 'Narragansett' Gold Washed Sterling Shell Dish & Figural Crab Spoon USA, circa 1890s A rare find, two piece set in one of scarcest patter...

A Mid-Century Modern two-piece Modern French concrete hour glass style planter on stand with nice light even patina.

Green metal desk light / banker’s lamp 2,5 meter black cotton flex, plug and switch Also available with US/UK plug Weight: 3.00 kg / 6.6 lb Priced per individual item. All lamps ...

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...

Impressive Mid-Century Modern large Murano Cenedese Scavo Cartoccio vase One of the most impressive vases offered by Cenedese, Italy, this big and beautiful vase is realized in multi...

The French bistro table embodies a blend of rustic charm and refined elegance. The white round vintage marble top dining table show...

An attractive 6ft wide (72 inches) brass and iron antique bed finished in green with art nouveau brass rosette decoration and straight brass top rails, adapted and extended from an o...