Continental Europe - Decorative Objects

This is a bronze sculpture, which may have been done by Frederic Weinberg. It is an incredibly stylized Roman Chariot and has a patina finish. Italian-made and great for any Mid-Cent...

Bottle-shaped Pewter Vase designed by Ellen Schlanbush for Just Andersen in the 1950s. An elegant piece for a beautiful place. * Little square bottle-shaped pewter vase * Designer: ...

Beautiful faded wooden gent milliners hea from the early 1900's. The faded lines and the non-treated wood give this head his beautiful character. Absolutely top of the line decorati...

This rare Danish stoneware vase manufactured by Bing & Grøndahl/B&G in Copenhagen, Denmark is decorated with berries and leaves in relief. The designer of this series from B&G remain...

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 lovely spheral vase in porcelain designed by Stig Lindberg at Gustavsberg. It is 9.5 cm in diameter. It is in excellent condition and one of the most iconically designs from the 19...

Vintage glass cat carafe, light blue liqueur bottle in the shape of a cat, made by Vetreria Etrusca, Italian glassware, circa 1960s. Decorative obje...

Danish Vintage Artists Paint Box and Pallet, Early 20th Century Well loved Danish artists traveling wooden box with everything needed to paint on location. This charming box, acqui...

Gorgeous Mid-Century round decorative basket, cachepot or bottle holder fully made in curved rattan, wicker and brass. This stylish decorative object was produced in Italy during the...

Vibrant Motion: Kinetic Sculpture - Iron, Paint, Movement Manufactured in France by unknown artist, circa 1990. In original condition with minor wear consistent of age and use, pre...

Elegant Tobacco Box in Bakelite in very period Art Deco, from the 1920s. Wear consistent with age and use.

Sleek and functional, this basket is handcrafted with meticulous care and made of handwoven leather that is 100% eco-friendly, durable, and easy to clean, suitable for both indoors a...

A pair Dutch Delftware Royal Delft vases - Urns. Tall decorative covered baluster vases on an octagonal foot. The vases are hand crafted and hand painted in enchanting blue colors,...

Elegant smoked grey and clear sommerso glass vase. Designed by Nils Landberg and manufactured by Orrefors. Sweden, 1970s. This hand blown glass va...

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...

Lovely desk organizer by Børge Mogensen, made from oak with red, grey and white lacquered drawers. The drawers fit A4 size magazines and documents.

Rare large French Art Deco elephant sculpture by Charles LEMANCEAU at Saint-Clement (Luneville), France, 1920s. French Art Deco ceramic. Width: 18.5"(47cm), Height: 11.8"(30cm), Dep...

A red vase with a crystalline glaze designed by Isak Isaksson in Sweden. The vase is 18.5 cm (7.4") high and about 11 cm (4.4") in diameter and it is in excellent condition. This is ...

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...

Handcrafted by artists from the Florence-based Romanelli Gallery, this plaster bust depicts Costanza Bonarelli, an Italian noblewoman and merchant famous for having been a subject of Bernini...

The Archer - Antique bronze sculpture by Julius Paul Schmidt-Felling Dimensions: H x W x D: 32 x 10 x 12 cm Description: Bronze figure mounted on a cuboid base made of serpentine s...

Swedish Art Deco Pewter, Bakelite, and Brass Lidded Box by GAB, 1935 A refined and elegant lidded box by Guldsmedsaktiebolaget (GAB), Sweden’s premier silversmiths and metalware ma...

A stylish and heavy vintage Norwegian brass bowl with granite from the mines of Sulitjelma in the Norwegian region Laponia. Made by Saulo / Sulitjelma Stein og Metall, Norway, 1960s...

Refined Italian large vase in Murano art glass, 1980s. This vase is characterized by a particular design shape. The vase is of high artistic quality made blown glass. The color of th...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Wilhelm Kåge for Gustavsberg, Sweden. Tall squar...

Sculpture of a Stylized Cat Designed by Livio Seguso ca. 1970s A cute sculpture of a stylized cat in smoke grey glass. Hand made in the Gral glass manufactory, Germany. It was desig...

Atmos Clock - "Prestige" by Jaeger LeCoultre with original box Switzerland Gold-plated brass 1980s Dimensions: H x W x D: 27 x 17 x 16 cm Description: The Atmos Prestige from Jaeg...

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...

This set of two Staffordshire Spaniel Mantle Dogs ceramic figurines was manufactured by the English Beswick manufacture during the 1960s. The catalogue number 1378-4. The figurines are made of high-quality hand-painted ceramics. Decorated with a gold chain, medallion and a cream white robe. Usually placed on fireplaces in 19th century mansions. In Scotland, these were commonly referred to as Wally dugs. The Staffordshire spaniel was the quintessential Victorian bourgeois ornament and a status symbol. No fireplace was complete without a pair of spaniels standing guard. Staffordshire dogs are now collector's objects. The quality of modeling and painting the figures may vary. Many copies have been produced, but originals in good condition and in the right pairs are now rare. Victorian tales describe the usefulness of placing Staffordshire spaniel figures on window sills. One story tells that a woman may have placed figures on her front window. If the spaniels were facing away from each other, her husband was at home. If he was far away, the dogs would face each other. As her lover walked past the house, he would have known if it was safe to visit her without her husband knowing. John Beswick...

Murano glass vase with ribbed relief, narrow neck and wide mouth. Handmade, attributed to Barovier&Toso, Italy 1940s/50s. Please watch the video and photos carefully, thank you. Wei...

Set of Art Deco Diskometal Candlestick Holders designed by Just Andersen in 1920s. * Set of round diskometal candlestick holders * Designer: Just Andersen * Manufacturer: Just Ande...

France / 1900 / gilded frame / wood / Antique / Baroque / Rococo A stunning gilded wooden painting frame, crafted in France around 1900. This piece has some some small signs of use ...

Wonderful hand carved standing Baroque angel figure. Unique period piece with its original paint . Spain, circa 1650-1750 Weathered. small losses . Measurement here below includes ...

Classic Swedish long-case clock from the province Medelpad in Northern Sweden. Made around 1820 with the classic rococo shape with hand carved wood dec...

Indian Summer vase - Clear fuchsia, orange and matt bordeaux. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: M - Ø 16cm x H 26cm Other ...

Handmade Mexican Talavera Mave ceramic vase delicately decorated by hand. Floral, organic decor in blue, green and dark yellow on a creamy light yello...

An amazing midcentury triangular design starburst table or desk clock from the 1950s. Executed by Atlanta, Western Germany. Made of brass with a beautiful base, brass rays and a love...

19th Century Majolica Vase with Floral and Foliage Motifs Description: This is a majolica vase dating from the 19th century, made in glazed ceramic with a rich and earthy brown tone...

Vintage Italian Murano bowl, fruit bowl made of blue and purple colored glass, beautiful glass art object from the 1960s, has remnants of the old Murano sticker. This fruit bowl can...

Lalique France Crystal “Le Faune” Dancing Nude Lovers Pan & Diana Figurine, from the 1960s. This Crystal Figurine features two nude lovers, Pan and Diana, dancing in a romantic pose....

Born in 1992 in Macerata in the Marche region, the Italian artist carried out a path that between studies of Surveyor and Architecture led him to a long collaboration with a craft co...

Val Saint Lambert, sculpted crystal vase with amethyst core, Belgium. Heavy Val Saint Lambert crystal vase catalogued in the 1950s. The central amethyst color (a traditional favorit...

Wonderful period piece. Beautiful weathered Neoclassical hand carved oak caryatid angel figure. Weathered. france circa 1780 H:34,5cm W:10cm D:5,5cm

GUIDO ANDLOVITZ - ha creato questo modello di candelieri quando era il direttore artistico della SCI di LAVENO . Questo modello di candelieri ha partecipato nel 1925 alla BIENNALE DI...

Perfect for both smokers and non-smokers alike, this brass ashtray is not only functional but also visually appealing. Its geometric shape adds a touch of modern elegance to any room...

A very beautiful decorative 1960s ceramic vase from the Rimini Blu collection. The design is by the renowned Italian artist and painter Aldo Londi. Manufactured by Bitossi. Made in I...

The Classic design of this porcelain vase comes back to life with retro decorations with a contemporary flavor. This vase is embellished with animals and branches inspired by the fau...

Masterfully handcrafted of white clay, this stunning vase depicts the face of a young woman adorned with a crown and jewels suggesting a noble origin. Her captivating gaze is enhance...

Vintage Rosenthal Fornasetti "Temi e Variazioni" porcelain plate motiv 24, with gold rim and black and white printed center depicting the face of the famous opera singer Lina Cavalie...

Cut stone basin

Vase "Formose" made in cased opalescent glass created by René Lalique in 1924. Stamped signature. Perfect condition. Very beautiful and rare color. Height: 17 cm. Félix...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. A stunning and large Art De...

Vase “Aras” made in cased opalescent glass with blue patina glass by René Lalique in 1924. Engraved signature. Perfect condition. Very beautiful opalescence. height: 22 cm Félix M...

Mosche Bianche is glad to add those wonderful fishes to its collection. The fishes are all handmade and bespoke: choose the colors and shape you like! Our artisans can make also cust...

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...

Can you imagine these firebucks in your fireplace with the flames burning on all sides? These beautifully and all handcrafted wrought iron, andirons were made to stand in your firep...

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.

A handmade trinket or jewelry box, crafted with utmost care from exquisite onyx. Details in guilded metal such as the lion feet. This versatile box will work for your treasures, whil...

This Beautifully hand painted, antique Prexim Music Box Clock would be a beautiful addition to any home. The 15 Jewel, hand-win Swiss alarm clock does ...