Cast Furniture

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...

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...

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...

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 ...

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...

Chinese Carved Jadeite Guanyin with Cat, Mounted as a Lamp on French Bronze Base with Longevity Finial, Circa 1920, Two pieces of Jadeite, the Lamp (co...

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...

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...

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

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

17th century French Louis XIII fireback with a coat of arms and two pillars of Hercules. The pillars refer to the club of Hercules and symbolize strength. The fireback is made of cas...

We love this Louis XVI style mahogany vitrine from France, crafted during the 1870s. Topped with an antique piece of red marble that is surrounded by a pierced brass gallery. Three s...

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...

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

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

Bust by artist Edward Schillaci who sculpted for Austin Productions from the 1950s thru the 1960s. This bust captured the essence of the then (1964) departed 35th U.S. President wit...

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...

A beautiful Art Deco bronze dish with amazing patina. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, only a few light scratches. Stamped 'BRONS' and makers mark.

Antique bronze rain drum table, four side handles, decorative with mysterious faces motifs around sides, beautiful oxidized patina, great object of art for display, indoors or outdoor.

Good pair of American early 19th brass ball top andirons having ring turned collar over balustrade turned shafts, standing on hoof-footed cabriole legs with spurred knees, the log st...

A large French 19th Century Cast Iron fireplace insert. An outer flange border, with concave returns with high relief cast embellishments showing wonderful examples of foliage and fr...

A nickel plated version of our Darien Sconce - Hand crafted, textured cast bronze backplate with Murano glass shade and hand crafted cast bronze diffuser. Requires one E14 small scr...

Gorgeous Mod! Extremely Rare Japanese Panasonic Fluorescent Lamp! Geometric Delight! Cone and Beam Design! Offered is a marvelous Panasonic lamp that is the epitome of Japanese m...

An antique French stone-top coffee table will add an early 20th Century industrial feel to your space, in good condition. The top of this vintage industrial sofa...

Delving into the elemental marks of Egyptian hieroglyphics, these vases use original characters to adorn an object inspired by vessels of antiquity. Formed of natural clay and glaz...

Sterling Silver Mounted From our Glassware collection, we are delighted to introduce to the market this Oversized Wrythen Glass and Silver Flask. The Glass and Silver flask of large...

Early 20th century brass fireside fender circa 1900. Elegant and simple brass fender.  6 turned finials linked by tubing which form an open rectangular shape.  Standing on a stepped...

The 'Globe D-2000' floor lamp was designed by Frank Ligtelijn for Raak Amsterdam in the late 1950's. It has a classical smoked glass globe, with an aluminum reflector and lamp holder...

Vienna Cold Painted Bronze Ten Piece Devil Orchestra, Attributed Franz Bergman Austria, circa 1925, attributed to Franz Bergman, unmarked Embark on a whimsical journey with this rare and delightful Vienna Cold Painted Bronze Ten Piece Devil Orchestra, made circa 1925 and attributed to the renowned Franz Bergman, though unmarked. This charming ensemble features ten individually cast and hand-painted bronze figures, each devil bearing its own instrument and unique action. From the authoritative Conductor Devil to the playful Flute Devil, every character in this orchestra exudes personality and mischief. The ensemble includes the Piano Devil, Cello Devil, Drum Devil, Heraldic Trumpet...

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...

Vintage Industrial lamp from 1970s. Cast aluminium top. Enamel shade. Milk glass. New porcelain socket for E 27 lightbulbs and wire. Weight: 2 kg.

Felix Agostini "Erato" bronze wall sconces, a 1955 design. Dimensions: Height: 21", Width: 10", Depth: 4".

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...

Vintage dining table designed by Eero Saarinen for Knoll Associates from the Pedestal Collection, circa 1960's. This stunning piece features a sculptural white cast aluminum base and...

Amazing cast iron midcentury sculpture / fireplace screen. Designed by Olle Hermansson for Husqvarna, Sweden 1960s. Great original condition with signs of use and age. Stamped 'OH'...

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 ...

Korean flameproof strip light made by Daeyang circa 1978 with a polished finish. Originally these would have illuminated hazardous areas on super tankers,...

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

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"Graphite Table No. 1" Cal Summers D. 2018 Designed and fabricated by JM Szymanski partner, Cal Summers. These tables are made from a unique composite developed by Cal Summers. ...

A handsome quality pair (2) of original hand painted sturdy old "Iris, Flowers & Vines" tea garden lanterns in a convenient portable size. May be suspended from loops or installed o...

A vibrant and sculptural Mid-20th Century cast iron patio dining set featuring intricate palm leaf motifs throughout the chairs and table base. Finished in the original turquoise pai...

'Hoop Girl' Art Deco Bronze Sculpture Signed Ferdinand Preiss (1882-1943) Germany, Circa 1920's We are pleased to offer the 'Hoop Girl' Art Deco Bronze Sculpture, a signed work by...

Dimensions - H: 29 in W: 54 in D: 25 in Elevate your interior with this exceptional Louis XV style writing desk by Baker Furniture, a piece that seamlessly combines classic French elegance with the renowned craftsmanship of one of America’s most distinguished furniture makers. Finished in a rich black ebonized lacquer, this desk exudes sophistication, while its ornate brass mounts and cabochon-style hardware pay homage to the refined detailing of 18th-century Parisian design. The embossed leather writing surface offers both visual richness and a practical work area, delicately aged to evoke an authentic antique look. Ideal for writing, working, or showcasing décor, the top is not only functional but luxurious in both material and execution. The front of the desk houses three spacious drawers, adorned with Louis XV style hardware and framed by graceful curves and shapely moldings. The reverse side of the desk features faux drawers, allowing the piece to float beautifully in the center of a room. This makes it an ideal choice for those designing a centerpiece home office, library, or formal sitting room. Set on classic cabriole legs, the desk strikes a balance between decorative charm and refined utility. It embodies the hallmarks of French Rococo design, including ornate carving, symmetry, and a sense of lightness that brings elegance to any space. Whether you're a collector of fine reproduction antiques, a fan of luxury vintage furnishings, or someone looking to add a sense of Gilded Age romance to your décor, this Baker Louis XV...

Linear long centrepiece designed by Orfeo Quagliata. An object of fused and thermoformed glass, exclusive techniques from the artist. 100% handmade with most high quality material. F...

American bronze cowboy sculpture resting on oval molded marble base depicting cowboys on horses coming in to town from cattle drive. Bronze sc...

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...

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...

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...

Opulent French round garden center table featuring a 2 inch thick molded cast stone top. The massive top is supported by a Greco-Roman neoclassical style corinthian column capital cr...

A large artistically created birds for table decor, taxidermy pheasant. This figure is Classic Hollywood Regency! They are each unique from one another, with slightly different positions and physical characteristics. Its is very well-weighted and well-balanced piece, beautifully crafted with rare bread of colourful pheasant. The spirit of this bird is a great problem-solver and can invent a way for any of your troubles. Native American lore states that the pheasant symbolises protection and concealment because the bird spends most of the time squatted down in the grass. The presence of a pheasant at your home is, therefore, symbolic of protection from evil eye and power This superb Ringneck Pheasant specimen comes from a Taxidermy collection...

Antoine-Louis Barye (French, 1796-1875) "Guerrier du Caucase" cast bronze sculpture depicting a Caucasian warrior in full armor rendered in fine detail riding on his horse. Cast ci...

Large Antique French Silver Centrepiece Jardiniere Vase Mythology Émile Sanner French, Late 19th Century Height 40cm, width 80cm, depth 35cm An outstanding example of 19th century ...

MARATUS chandelier was designed for the Mol collection by Mexican artist Isabel Moncada. A chestnut horse with a white tail is called Palomino, it is dashing and atypical. This lamp is an allegory of its sumptuous presence. The vintage finish accentuates the volumes and vigor of the bronze pieces that make up this skeleton with shiny translucent strands of natural horsehair. It uses a low-watt LED light that lasts up to 18 years and saves 90% of energy consumption. Cast bronze with vintage finish pieces. 12 lights with horsehair tassels...

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 French provincial unglazed olive oil jar from Biot, France circa 1780. This patinated jar has lots of character and patina consistent with its age. Perfect for styling as a sculptu...

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,...

PRESENTING A STUNNING and EXTREMELY RARE and DESIRABLE Early 20C Korean 8 Panel Hand-painted Silk Screen or Divider. This screen consists of ...