Continental Europe - Decorative Objects

French Art Deco mantel clock set in the style of Sue & Mare, France, circa 1925. Marble, brass and glass. Measures: The clock height 11.8" (30 cm), width 11.8" (30 cm), depth 3.9" (1...

A vintage cigarette case crafted from lustrous gold-toned metal with a satin finish, designed in the elegant shape of a globe that opens into two hemispheres, also featuring a charmi...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection of a historic Florentine crystal grinder that unfortunately closed recently. It is the Marcello Galgani & Son company, whose completely manual and artisanal work has not withstood the disproportionate advance of mass-produced mechanical processes! Marcello Galgani began his craft as a grinder and restorer in 1960; as the years went by, Marcello mastered and became familiar with particular techniques and shapes, resulting in the production of objects that manage to retain the freshness of grinding and engraving, the warmth and softness of light, and the inimitable flavor of unique artifacts. After several years, his son Lorenzo, who grew up among crystals, also entered the business and immediately became passionate about this ancient craft with skill and ability. Stimulated by the aesthetic sense of the past, father and son, set up a workshop in which the shapes they researched and created themselves are mouth-blown by traditional Tuscan glassmakers in Empoli, then ground and engraved using ancient sixteenth-century techniques, with motifs born from the Galgani's inexhaustible imagination or culturally inspired by designs of objects seen and studied in Florentine museums (Uffizi, Galleria Palatina, Museo degli Argenti, etc.). Marcello and Lorenzo Galgani were also Masters in the difficult art of restoration, bringing rare and precious objects back to life. As mentioned the company recently closed and disposed of all its last production, and only Marcello's old private museum collection remained, which includes unique and special objects created over time, a collection that the craftsman made available to us for a planned sale. All of the objects were made entirely by hand with old grinding wheels, but there were mainly two tools that allowed the creation of masterpieces: the right hand and the left hand of the master craftsman. Ancient glassmaking techniques were used for all the ground and engraved products: first, the object was ground with an emery wheel fed continuously by a jet of abrasive sand and water, then re-polished with a very fine-grained sandstone wheel also fed with water; the engravings were done freehand using as many as 10-15 small stone wheels for each design (flowers, branches, animals, etc. ); then the object was polished and shined; we must make, at this point, an important clarification on these last two operations: towards the end of the 1960s acid crystal polishing was devised, the object was immersed and rotated in a solution of sulfuric acid, fluoridic acid and water and in a short time all the defects left by the previous processes were eliminated, it was a fast, industrial operation that allowed to lower costs considerably, with discrete but not excellent results. But for Galgani's products polishing is done with a cork bark wheel wet with water and pumice, to make the surfaces more transparent, and finally polishing was achieved with a felt wheel wet with a paste of water, iron oxide, and cerium oxide. This series of processes takes an average of two days of work( sometimes much longer) for each object, each engraving or grinding is the result of the creative inventiveness of the two artisans, inventiveness that transforms crystal into reality material of the highest aesthetic value and inestimable value. All the items in the entire collection have never been used; they were part of the exhibition. Large crystal vase; the decorations, in baroque style represent a series of "grotesques" The object is "a unique piece" signed by the Master, it was created in Marcello Galgani's workshop in 1983 and made with the techniques (grinding, engraving and polishing) that we explained in the description; for the shape, the Master was inspired by a vase present in a painting, preserved in the Uffizi Gallery in Florence by the sixteenth-century painter Jacopo Ligozzi...

A giant sized handmade Rimini blue ceramic vase designed by Aldo Londi and manufactured by Bitossi. Italy, 1960s. Blue glazed ceramic with engraved patterns adorning the top of the ...

Vase “Ronsard” made in frosted glass with sepia patina by René Lalique in 1926. Molded signature. Perfect condition. Original glued handles. Great patina. height: 21 cm Félix Mar...

Small vintage bust of Wolfgang Amadeus Mozart, made of matt biscuit porcelain, on a square black wooden base, signed on the back, by G. Bochmann for Goebel, West Germany, late 20th c...

Vase of imposing size carried by a base and a sphere that can be clear or amber to bring a touch of color. Crossing hand-cut on the surface creates very suggestive light effects. Han...

Antique Bowl in Silver, Bakelite and Crystal, early 20th century. Very beautiful and lovely bowl in silver plate, bakelite and crystal. Highly refined and elegantly designed, this b...

This striking Empoli vase features a captivating design characterized by bold red and black swirls that create a dynamic visual effect. The glass is expertly crafted, showcasing the ...

A green and yellow hexagonal heavy Murano glass vase, manufactured in Venice by Mandruzzato in the sixties, is in very good condition. The vase is a stunning example of Italian craft...

A beautiful pewter vase with amazing patina. Art Deco / Swedish Grace. Produced by GAB Guldsmedsaktiebolaget, Sweden, 1933. Good condition, but with a small dent (pictured) and som...

Constantin 1 is a simple but charming candleholder with a geometric shape with circles. The body is in Marquina black marble. The cylinder in natural brass on the top is the place where to put an 18 mm candle. It is presented in an elegant gift box In the same collection 3 different models of candlesticks in wood or in marble. A perfect set for a present. Constantin collection owes its name to its inspirer. It is in fact the modern art of Constantin Brancusi that has guided the designer’s hand to conceive candelabra, bookends, containers and centre pieces...

This is a wallet/ coin case which was made in Japan around 1990s. It is made with silk and this wallet will come with a plastic case. The material is silk and metal. The technique wh...

Mid-Century Minimalist Dutch Studio Pottery Vase from Mobach, 1960s, in Very Good conditions. Designed 1960 to 1969 official proof of authenticity such as vintage catalogs, designer ...

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

Kindness is a delicate photo frame of Laura G Art with Heart collection , handmade entirely by Italian masters of art. Kindness is both front a...

Ercole Barovier - Barovier & Toso 'A Grosse Costolature' Bowl 1942 A large shell shaped 'A Grosse Costolature' bowl in heavy iridescent Murano glass. Designed by Ercole Barovier an...

Basset hound dog statuette in 800 solid silver. The object was made with the technique of fusion in two halves and subsequently joined by welding. In th...

Fascinating traditional handmade ceramic planters from private collection.

Antique Cabin Antler Wall Clock with Deer Head Austria ca. 1900 A large rustic antler wall clock. The wooden case is richly decorated with plaster applications, a plaster deer...

Art Deco bronze sculpture bust young Achilles. The bronze bust is signed by Constant Roux with foundry mark Les Neveux de Lehmann and stamped number. The sculpture is fixed on a g...

Vibrant and colorful Italian piece of ceramic. Two women picking grapes, on each side a different woman.

A refined antique inkwell, with two inkwells made of bronze, including glass cups. The base is made of veneered marquetry wood with a diamond pattern, framed in a bronze rim, resting...

Cristalli a lastra Fontana Arte Dube 'Duilio Barnabe', 1955 Max Ingrand. Coppia centrotavola Fontana Arte realizzato dall'artista italiano Dube' negli anni '50 che rappresenta la c...

Set of 7 candle holders by Timo Sarpaneva for IIttala , 1970s Dimensions: 32 cm Height 8,5cm diameter 24,5cm Heigt 9 cm diameter 2 times 18,5cm Height 8.5cm Diameter 13 cm Height 7...

Set of Two Braceli lamps designed by Salvador Dali manufactured by BD furniture in Barcelona. Bracelli Panel structure covered with silver plated polyester painting (Fine gold leaf)...

Original chair in golden oak, satin finish. Flared legs, backrest and seat upholstered in a textured cream fabric by Dedar.

This ceramic vase from Royal Copenhagen was designed by Berte Jessen in the 1960s and manufactured in the period 1969-1974. It belongs to the "Tenera" series and features an abstrac...

Limited edition Disney princess sculpture of Cinderella and her carriage, decorated with handmade gloss finish porcelain flowers. Designed and handmade in Spain. Unique pieces by the...

1990s French style battery operated wooden table clock New - Private Collection Domenico Rugiano

Dimensions: 18cm Width , 10cm Depth , 24cm height Period: 1970s Color: white Material: Ceramic

Unique and antique alabaster sculpture of our Lord Jesus. This gorgeous and large size work of religious art from a church or monastery is...

Scandinavian Modern Sommerso Smoked Grey Tall Glass Vase by Nils Landberg for Orrefors Elegant smoked grey and clear sommerso glass vase. Designed by Nils Landberg and manufactured ...

Stunning and vibrant, 40 cm high, jug vase with sgrafitto and hand-painted colored glossy pattern of stylised women. On the base is painted Italy 7882. Fratelli Fanciullacci Potte...

Antique Gothic Revival Lidded Tobacco Pot 19th Century. This is a wonderful and very decorative antique tobacco pot or lidded pot, made in the late 19th century in a very distinct g...

Stunning French bronze tazza with wine & Bacchus theme, by Ferdinand LEVILLAIN (1837-1905). Every time we find an antique of this extraordinary quality and beauty we wonder what p...

Vase "Malesherbes" made in frosted glass with blue patina by René Lalique in 1927. Engraved signature. Perfect condition. Very beautiful color. Height: 23 cm Félix Marc...

Exceptional organic bronze vase produced in Sweden by Ekbergs ca 1950-60s. Very heavy and well made cast with a slightly oxidized patina. Functional piece that works just as well on ...

Émile Gallé (1846-1904) French Art Nouveau Cameo Mold Blown Glass Vase « Fleurs de Pommier » circa 1910 Beautiful and very rare Art Nouveau molded-blowned g...

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...

Stunning original 1960s sunburst starburst wall clock. Featuring beautiful wood and composition sunburst surrounding illustrating perfectly the mood of the decade. It is in very good...

George III grandfather clock with silver-plated dial Scotland (Aberdeen) Mahogany George III around 1820 Dimensions: H x W x D: 222 x 47 x 23 cm Description: Beautiful antique Scottish grandfather...

The set of Wedgwood consists of three lidded boxes in different shape and design and two small serving bowls of which one can be used as an ashtray. All is made of the famous but r...

This pair of vases is made of glass. They are green in colour with formal motifs in enamel. The flowers remind of hibiscus. They are of an Art Nouveau style. Art Nouveau is an ar...

Swedish "dug out barrel"/laggkärl from around 1850s Made from a single solid dugout pine tree trunk with a attatched bottom, perfect as a planter. Height: 70 cm/27.5 inch Depth: 34...

Hermès Box by Paul Dupré-Lafon, France 1930-1940 French Box by Paul Dupré-Lafon for Hermès Paris, 1930-1940 Paul Dupré-Lafon (1900-1971) Hermès Paris lidded box with leather in cogn...

Concorde Model Scale 1/36 sculpture, in resin fiber, on aluminium polished base. From Air France Agency. On base: height 110cm.

The Bonnie range is designed around the stylized form of a Saffron flower, known around the world for its valuable beauty, fragrance and essence. Each organic flower-like form is ...

This Cartier Must II ballpoint pen from the 1980s is a rare piece made of silver plating and palladium, adorned with a distinctive engraved motif featuring Cartier's iconic "C". It b...

IMPORTANT SEDES SAPIENTIAE VIRGIN AND CHILD ALSO CALLED « THRONE OF WISDOM » ORIGIN: FRANCE, BURGUNDY PERIOD: EARLY 13th CENTURY Height : 75 cm Len...

Vase "Violettes" made in opalescent glass with blue patina by René Lalique in 1921. Engraved signature. Perfect condition. Great opalescence and very nice patina. height: 15.5 cm ...

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...

Amazing period piece. Beautiful hand-carved fragment depicting a dragon / mythical creature. Once had its place in wall of a medieval church or chapel in the South of France. Weather...

19th Century French Provincial Wooden Bowl – Hand-Painted Floral Motifs – Antique Patina Description: This is a beautiful traditional wooden bowl, crafted in France during the 19th century, in the characteristic French Provincial style. The piece showcases hand-painted floral decorations on the handles, featuring delicate accents in purple, green, and white, as well as a painted white motif adorning the upper rim of the bowl. The wood itself shows signs of hammered craftsmanship, giving the surface a textured, artisanal feel. The bowl has developed a rich, aged patina, emphasizing its long history and authenticity. It is a piece that is both decorative and functional, embodying the rustic charm and elegance of rural French artistry. Key features: 19th-century French Provincial craftsmanship Hand-carved wooden bowl with hammered texture Hand-painted floral decorations in purple, green, and white Decorative white motifs around the rim Rich antique patina Suitable for use as a decorative centerpiece or functional bowl This bowl is perfect for bringing an element of authentic, rustic elegance to country homes, farmhouse kitchens, or eclectic vintage interiors. It can be displayed on a table, sideboard, or open shelving, offering both utility and beauty. Keywords: 19th-century French wooden bowl, French Provincial decor, antique hand-painted bowl, rustic farmhouse centerpiece, traditional French craftsmanship, antique wooden vessel...

Very decorative aubergine, amethist, plum coloured purple set of ten different size and colour Italian art glass bottles, vases and apothecary or candy jars. Mention Italian glass and probably everyone’s mind immediately leaps to Venice and Murano. But there is another almost equally famous centre of Italian glass making known as Empoli. Empoli glass is generally much simpler and does not have the intricately applied trim or decorations associated with Venetian and Murano pieces. The simple traditional styles of Empoli glass were quickly adapted to the abstract shapes of mid 20th century modernism. It became hugely popular as a decorative home accent, and was exported across the world. Now they are highly sought after by international collectors and look beautiful arranged together. This set consists of three pressed genie bottles and seven blown glass items. The bottles have their stopper and all items are different in design, shape and size (height with stopper): Large striped swirl genie bottle, pressed glass, 53cm high, ø 13.5cm (20.9"x5.3") Diamond design pressed 'genie' bottle, pressed glass, 55cm high, ø 13cm diameter (21.7"x5.1") Angular 4 sided genie bottle with dancing women, pressed glass, 48cm high, 15x15cm depth and width (18.9"x5.9") Carafe with clear handle and foot, without stopper, marked, made in Italy, blown glass, 38cm high, ø 13cm (15"x5.1") Large cognac glass, blown glass, 27cm high, ø 18cm (10.6"x7.1") Small cognac glass, blown glass, 23cm high, ø 13cm (9.1"5.1") Optic bubble small vase on clear foot, blown glass, clear glass foot, 22cm high, ø 10cm (8.7"x3.9") Small long vase with swirl design, blown glass, 25cm high, ø 8cm (9.8"x 3.1") Bonbon or candy jar with clear foot and handle, blown glass, 24cm high, ø 11cm (9.5"x4.3") Small bonbon or candy jar with clear foot and handle, blown glass, 16cm high, ø 11cm (6.3"x4.3") Like Murano glass in the 1950s-1960s the great majority of Empoli glass was marked only with relatively generic “Made in Italy” paper or foil label. Over time, many of the original labels have fallen off and the majority of Empoli MCM glass...

Sculptural glass vases “Gutta” pay homage to the ancient glassblower-artist technique "guta," which goes back to the times of the Kyivan Rus'. The Guttas vases...

Art Nouveau ceramic centerpiece, twelve geese designed in a circle to form a bowl. White earthenware painted in color and glazed. Designed by Michael MÖRTL (1878 - 1939) around 190...

A modern interpretation of a traditional Sicilian Moor bust, this sculptural vase is exquisitely crafted by hand of pink-colored clay. The piece represents t...

Beautiful Murano hand blown red, black, gold glitter and yellow Italian art glass handkerchief / fazzoletto vase. Created by the Fratelli Toso company. Measures 7 1/8" wide x 7" wide...

Article: Murano glass bowl, ashtray element, Silver FLAKES. DINO MARTENS FOR AURELIANO TOSO, 1960s Origin: Murano, Italy Decade: 1960s This original glass ...