Continental Europe - Decorative Objects

Giant Lalique perfume bottle, 1960-1970, giant bottle. Giant Lalique perfume bottle, no perfume inside, crystal. H: 30.5cm, W: 22cm, D: 6cm

Mid Century brass duck sculpture 1970’s

Lovely Art Deco small vase designed by Curt Schlevogt. Vibrant color.

Mid-Century Brutalist Wrought Iron Candleholder, 1960s, in Very Good conditions. Designed 1960 to 1969. Additional information: Materials: Wrought Iron Color: Black Styles: Brutalis...

A pair of brass vases /candlesticks designed by Carl-Einar Borgström at Ystad Metall in the 1930s. These were designed to be both vases and candlesticks. They are 8 cm high and 9.5 c...

This elegant 1930s Art Deco French picture frame combines the iconic geometric simplicity and material richness of the Art Deco era. It is a striking piece that reflects the bold yet...

A nice vintage beauty case, made by the French brand Louis Vuitton. Covered with logo canvas, leather details and copper fittings. The interior is lined with yellow silk fabric. The...

Midcentury Swedish fire screen by Olle Hermansson for Husqvarna made in cast iron. It can both be placed either as a fire screen or a sculpture. The fire ...

Car Mascot Hood Ornament "Cinq 5 Chevaux" (Horses) made in molded clear glass by René Lalique in 1925. Molded "R.LALIQUE FRANCE" signature Perfect condition. Very rare and attract...

Sculpture leopard black and white right. All in hand-crafted ceramic made in Italy.

Induction coil by Du Bois Reymond, also known as Sled of the Du Bois Reymond system designed around 1870 during electrophysiology studies by Emil Du Boi...

Vintage Italian smoky Murano glass sculpture depicting a woman with her head in her hands in a keeling position. It is made of solid glass, hand polished by Loredano Rosin / Made in...

Sculpture candleholder zebra all hand painted, in white porcelain with brass details. Candleholder part on the top in solid brass and with hand-painted porcelain.

Large mid-century stoneware vase with a handle by Bay Keramik, Germany. Magnificent revolving decor showing Sumerian characters and scenes of life. Measures: Height: 17.9"(45.5cm), W...

Double Shadow Sculpture Set A work of harmonization of darkness and light, cold and heat: yin e yang. Wonderful twin spherical sculptures with b...

Add a touch of authentic Italian Mid-Century Modern design to your home with this stunning pair of vases signed (presumably, to be verified) by the famous Venini glassworks in Murano...

"Maternity" Angelo Biancini Morelli Ceramics 1930s Ivory Ceramic Figure Rare Sculpture of Angelo Biancini by Morelli Manufacture 1920-1930 "Morelli" Sign under the base

An outstanding statue of an Italian dachshund made of glazed and hand-painted terracotta. Perfect, lifelike, and life-size representations of this loving creature, faithful, affectio...

Alcova set 02 1 x Alcova Light Amber 1 x Vaso L Crystal 1 x Cilindro L Light Amber Alcova is a collection of handcrafted, geometric objects that when grouped create intimate la...

Used either as an empty-pocket bowl, decorative object, or small serving piece, this exquisite squared bowl will be a splendid addition to a sophisticated decor. Entirely handcrafted...

Tall cylindrical floor vase by Aldo Londi for Bitossi, Italy. The vase is made of chamotte clay and partly decorated with a geometric pattern with glossy turquoise glaze in two br...

Miniature Empire Bronze Clock - Matelot Paris fire-gilded and patinated bronze early 19th century Dimensions: H x W x D: 18 x 14 x 9 cm Description: Very rare miniature of the famous Pendule Matelot "Au Bon Sauvage". The depiction deals with an important topic of the time, trade with the colonies. The rectangular base stands on pressed ball feet. Attached to the front, we see two cornucopias filled with exotic fruits and held by a bow. A young sailor, dressed in a raffia skirt and feather jewellery...

MARBLE FIGURE OF THE MINOTAUR, 17th Century Baroque Style, Italy. Beige/grey marble. Minotaur on a rectangular "Rosso di Verona" base. H (without base) 81 cm. H (without base) 81 c...

Iridescent orange and pink glass vase by Loetz, made in the 1950s. Ø cm 10 h cm 11 Loetz is a name that immediately evokes images of extraordinarily beautiful and refined blown gla...

Magnificent heart-shaped, glass bowl or ashtray in a lovely Blu and Red crystal "sommerso" Murano artglass, that was produced in Italy during the 1960s. This wonderful piece is a pe...

Steel painted with glass front made in Germany in the 1950s. Original condition with patina on the frame. Formerly a slave clock, it is now fitted with a modern quartz movement wit...

An Impressive Ceramic Sculpture by Roger Capron Vallauris France 2000's One-Off piece. Named " Le Grand Masque Marin " ( The Large Marine Mask ) Signed R.CAPRON Acquired directly...

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

A gorgeous character ceramic figural horse statue - Bitossi Aldo Londi. This character statue has been made in the 1960s. Absolutely gorgeous item with mark on the body and still in ...

Fringe chawan bowl Irregular, dramatic gray cracks of bold visual impact embellish the polished ceramic surface of this spectacular chawan bowl, handcrafted following the ancient ...

Finely carved mythological roman subject of Minerva in limestone. Excellent condition from an estate of Veneto. Measurements: Statue cm 180, base cm 80. Minerva (Pallas Athena in Gr...

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...

Scandinavian modern decorative ceramic dish made by Haunsø Ceramics in the 1950s. Shiny cream white and bright green glazed plate with incised symmetrical lines and depiction of a de...

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...

GILDA - Ceramic vase black glazed finished cod. GILDA001 Measures: Height 160.0 cm, diameter 38.0 cm.   

Italian Venetian Vase in Blown Murano Glass, Blue and 24-K Gold finishes, 1960s, with a very sophisticated and elegant shape, in very excellent original conditions, as documented in ...

Antique Swedish longcase clock from around 1820 to 1840. The clock was made by hand in Hälsingland in Northern Sweden. The frame is solid pine w...

Brutalist SA I Sculpture by Hiroshi Koyama, Japan, 1990s. Diabase (subvolcanic rock) and bronze

Art Deco Compact – Lacquer and Brass – "The Fox and the Crow" Decor, 1930s Rare compact powder case and travel vanity box, dating from the 1930s (French craftsmanship). The lid fea...

Large bronze sculpture by Auguste Moreau, 19th century, Napoleon III period. Bronze sculpture of a young woman with a bird by Auguste Moreau, red marble base, Napoleon III period, 1...

In 1921 Venini and Cappellin opened a glass factory called Vetri Soffiati Muranesi Cappellin Venini & C. on the islands of Murano, the historic glass production center in the lagoon ...

The red and gold marine lady is inspired by many cultural reminiscence of Italy. Corals inspired by our mediterranean see, gold elements for luxury art. A gentle reinassance face emb...

Early 20th century Louis XVI walnut frame, French. Carved ribbon bow typical of the Louis XVI style, the sculptures of the contours of the frame are of remarkable fineness. Good ...

Antique Emile Gallé vase in yellow frosted and dark art glass carved in the form of a park landscape with trees and a bridge. Rare model. Early 20th century. Measures: 27.5 x 7.7 c...

Rare vase from the 90s from Lip. Blue cobalt incamiciato with clear glass with two massiccio green rods on the side. Similar to the Tina Aufiero Alboino small vase made in the same d...

Eden Planter This stunning planter is perfect for displaying your favorite plants, and is sure to add a touch of elegance to any space. Eden Planter is designed to be both durable ...

Vintage cobalt blue porcelain box decorated with pagodas in a riverscape, interior fitted with two compartments, made in 20th Century Width 7.5 inches / depth 4 inches / height 3 inc...

This Seven-armed candle holder was desined by Borek Sipek 1988 and manufactured by Driade. It is made of silver-plated metal with company stamp Driade on the underside. The conical b...

A pair of elegant candelabra with caryatids, Empire, early 19th century A very elegant and high-quality French pair of candelabra in gilt and dark-patinated bronze. Each candelabrum...

Article: Murano glass vase Origin: Murano, Italy Design: Flavio Poli attributed. Decade: 1970s This original vintage glass vases was designed by Fla...

Vintage Empoli glass decanter with stopper. In cadmium blue colour and with textured ribbed surface. Both the decanter and stopper are in excellen...

Stunning Mid-Century jewelry or decorative rectangular box in a charming combination of tortoiseshell effect and clear lucite. This stylish object was made in Italy during the 1970s ...

Kazan vase Turquoise, crackle' and burnt colors overlapping and uncontainable in this vase that originates from the idea of the heat source used by ancient middle east potters. A geometrical shape that reminds of an ancient kiln used...

Superb and extremely rare Daum # Nancy vase designed after a drawing by Edmond Lachenal, France late 1800s. Signed, etched and gilt "Daum # Nancy, d'après E. Lachenal". Decorations o...

Spherical frame for 2 hinged photographs in 925/1000 sterling silver goldplated with translucent fire enamel on guilloché. Modern contemporary style. Sphere diameter cm. 7.5. Weight ...

Kienzle automatic world timer zone clock. An exclusive big table clock from Ø 26 cm wonderful clocks face with world map and world time zones, glass, the heavy case & base are of sol...

Designed for the wife of August III, Maria Josepha of Austria (1699 Vienna - 1757 Dresden), Electress of Saxony and Queen of Poland since 1733, with the ‘Elector of Saxony coat of ar...

An amazing bisque porcelain midcentury studio art pottery vase made in Germany, by Kaiser Porcelain, signed M. Frey, circa 1970s. Vase is in very good condition with no chips, cracks...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. The heart collection is inspired by the ...

Two adorable little Elephants. Made by Murano 1980. Hollywood Regency style. Chrystal glass with 24-carat gold. Very nice bookends. Excellent condition...