Continental Europe - Decorative Objects

Tan France Auction Pick Set of two Scandinavian ceramic vases designed by Danish artist Michael Andersen & Son, signature engraved on the bottom, 1940s Dimension big vase: diameter...

Beautiful Line Vautrin signed bronze beauty or compact box, circa 1940, France. Gilt bronze, with inscribed the first 2 lines of the poem "Green" by Paul Verlaine, and decor of hear...

Sculpture happy bronze all in green solid bronze.

Discover an example of early 20th-century French decorative art with this large Art Deco pheasant sculpture by Limousin, created in Paris, France, circa 1920. This important and hi...

Gold Fleck Costantini Murano glass vase encased in a profusion of applied filament glass. It is signed by Costantini Murano on the bottom.

Large Vintage Italian Ceramic Tiger, 1970s. A stunning large hand painted ceramic animal sculpture of a sitting tiger. Very lifelike and anatomi...

we present this pair of very rare and unique table lamps in the world, these are two totally restored lamps from the 1950s, wicker dome, lead sculptures...

For sale is a pretty little glass vase with red and white specks and gold- and silver colour applications. The design can be attributed to French glass and ceramic Artisan Émile Gall...

This is an exquisite decorative Venetian style candelabra floor lamp from Florence! This rare and elegant Italian midcentury carved wood and polychrome painted figure is holding a ...

Pair of Jugendstil Hammered Brass Lidded Boxes, Germany, ca. 1910 Of square form in hand-hammered patinated brass, each box with a close-fitting flat lid, the front face decorated wi...

19th Century Dutch crystal and gold perfume bottle by H.A.M. van Tongeren, 1870s A 19th Century Dutch perfume bottle with golden hinged cap with stopper. The crystal perfume bottle ...

Vase "Baies" made in frosted glass with original heated brown enamel by Rene Lalique in 1924. Molded signature on bottom. Perfect condition. Exceptional enamel. height : 26,5 cm ...

Pair of sculptural summit speakers.

This sizable ceramic and well executed Cheetah sculpturedates to approximately 1960 and done in the period Mid-Century Modern style. The sculpture is done in a detailed molded cerami...

Famously from Hokkaido and northern Japan, this large, intricately hand-carved bear statue with a fish in its maw is a traditional Ainu folk handicraft. In Ainu spirituality, bears...

Midcentury beautiful basket or plant holder in bamboo and rattan attributed to Vivai Del Sud. Made in Italy in the 1970s. Vivai del sud, Gabriella Crespi and Arpex were the three l...

Vide Poche Soap Holder Swans Sculpture Shaped, in Silvered Metal Italy, 1970's

Made in Czechoslovakia Made of Porcelain Re-polished With aged patina Good original condition.

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 ...

Stunning wooden Holy Heart of Christ statue. An exceptional and deeply moving life-size hand-carved wooden sculpture of Jesus Christ, depicting the Sacred Heart. This monumental chu...

Beautiful and rare Gothic Revival treasure box with bronze handle. If you are a collector of antique boxes and/or if you are looking for an extraordinary jewelry box to grace your credenza or side table then this unique and top quality made specimen in the Gothic style could be perfect. Gothic Revival boxes are very hard to find and we have never seen one with such prodigious carvings on all sides. The unique and cat-like dragon gargoyles (with fangs) that look like they are carrying this casket, are just some of the stunningly carved and detailed sculptures that make this antique rarity even more artistic and impressive. Another great feature are the peacock sculptures. In Christianity the peacock is the symbol of purity. Christians believe that once someone has passed their soul rises and goes to heaven. This is why in earlier times Christians would spread the feathers of a peacock over the deceased since it symbolized a pure soul that was immune to corruption. The peacock also represents immortality, resurrection, and the spiritual teachings of Jesus Christ and the Christian church. Have you also noticed the top quality details on both ends of the bronze handle on top? The quality of that ornamental work is of the absolute highest standard also. There are many more incredibly beautiful, hand carved details and together they show that no expense was spared to create one of the most amazing Gothic caskets...

A beautifully sculptural Swedish Art Deco pewter vase produced by GAB (Guldsmedsaktiebolaget) in Stockholm and dated 1939. Executed in solid pewter, this elegant vase features a tall...

Large and beautifully sculptured, floor lamp. If you are looking for unique and decorative antiques to bring joy and class to your interior then this marvelous, sculptural floor lam...

Delightful sculpture depicting a stylized woman's body in smoky green Murano glass on a cubic black glass pedestal. The artwork, created in the 1970s, can be attributed to the Murano...

Mid-Century Modern Italian Studio Pottery Sculptural Vase by Roberto Rigon for Bertoncello, 1960s

Elegant Pewter Vase made by Just Andersen in 1952. * Drop-shaped pewter vase with cannellated vertical lines * Manufacturer: Just Andersen * Style: 2642 * Year: 1952 * Condition: Fa...

Solid brass bowl from the 1960s. Very decorative with a beautiful patina.

Sculpture, Hellenistic female bust. A magnificent reproduction of a fragment of a female bust, delicately evoking the ideal of classical beauty. The unfi...

A beautiful ethnic vibe emanates from this small German studio ceramic vase. Made around 1970, this vase is one-of-a-kind made and signed by...

Luxury at its finest,  A collector’s item made by Lalique in France. This high-end piece is made by Lalique. The Lalique Vierge Mains Jointes is a radiant crystal sculpture of the V...

Art Deco inkwell, circa 1920. Portor marble base surrounded by a wrought iron frieze decorated with leaves. Stamped E. Brandt. In perfect condition. Height: 7.5 cm Width: 13.5 cm Le...

Italian rattan and brass waste basket, or can also be used as a planter.

A pair of Trumpet Shaped Candlesticks designed by Arne Eskers and made by Just Andensen in Denmark during the 1950s. Both stamped and signed. Design number: 2601. Measurements: H: ...

A complete malachite box from around 1930 in a hexagonal shape, with a loose lid This is the kind of malachite what's coming from Congo the box meassures 8.2 x 8.2 cm and has a tota...

Brutalist Vase from BKW Böttger Keramik Wandsbek, Hamburg, Germany, 1960s, in Very Good conditions. Designed 1960 to 1969 This piece has an attribution mark. Additional information:...

This beautiful vertical photo frame is purely in the vénitien glass manufacturing tradition.The technique uses to get this rich twisted rope effect is called "torciglione" and requi...

Vintage Italian Sommerso Murano Glass Vase, 1970s, in Very Good conditions. Designed 1970 to 1979 Additional information: Materials: Glass Color: Green Period: 1970s Country of Orig...

Paperweight Lino Sabattini for Christofle France 1960 Silver Metal Mark manufacture impressed Very good condiction

This vintage Villeroy & Boch paperweight features a delightful sitting panda bear design. The clear glass material is cut-to-clear and gives the paperweight a charming cuddly appearance. This modern original is a perfect addition to any collection of decorative pottery and glassware, and would make a lovely gift for anyone who loves bears...

Venini Deco vase, model 707.10, produced in 2012 and accompanied by its original Venini box and paperworks. The Deco series traces its origins to the ...

Mid-Century Modern Rattan / String Basket, Italy 1960s Very good condition.

Vintage industrial wall clock produced by ESMI during the 1980s .It was originally designed for public buildings, schools, railway stations, and industrial interiors. It features a w...

This exquisite handpainted porcelain dish hails from Japan, dating back to the Meiji period (1868-1912). The dish features a petite design with wavy, contoured edges against a light ...

A beautiful lidded bronze box with amazing patina. Art Deco / Swedish Grace. Made by GAB Guldsmedsaktiebolaget, Sweden, 1930s. Great condition, with only some light scratches. S...

Inkwell in gilded bronze and crystal from the second half of the 19th century Original gilding in perfect condition 19th century, Napoleon III 8.2 x 10.6 cm, total height 8.2 cm

Vintage industrial wall clock produced by ESMI during the 1980s .It was originally designed for public buildings, schools, railway stations, and industrial interiors. It features a s...

Kähler, Denmark, large glazed stoneware vase in modern design. 1930s-1940 s. Cow horn technique. Stamped. Measures: 26 cm. x 16 cm. In perfect condition.

An exclusive vase made of malachite glass from the renowned Czech manufacturer Curt Schlevogt, known for creating luxury decorative glass under the Ingrid Glass brand. This exception...

French Art Deco Pierrot Sculpture in Spelter and Onyx, France, 1920s A captivating example of authentic French Art Deco design, this charming “Pierrot” sculpture was created in Fran...

This plaster sculpture is a reproduction inspired by different Roman originals depicting the renowned Roman Emperor Marco Aurelio. The Emperor is dressed...

Travertine and brass ashtray, France, 1960s. An elegant modernist ashtray crafted from solid travertine and featuring a brass dome, typical of 1960s French design. The combination of the cream-toned natural stone and the gilded brass creates a refined contrast characteristic of Mid-Century aesthetics. Its simple geometric shape highlights the travertine's natural veins and cavities, making each piece unique. Beyond its original purpose, this ashtray can also be used as a catchall for jewelry, keys, or small everyday items. A timeless decorative object, it complements both vintage and contemporary interiors. Style : Mid-Century Modern Modernist Minimalist Vintage Hollywood Regency Key Features : Solid travertine Brass dish Clean geometric shape Natural stone with unique variations Made in France Use as an ashtray or trinket tray France, 1960s Keywords : travertine ashtray, brass ashtray, stone ashtray, mid-century ashtray, vintage ashtray, travertine decor, brass decor object, modernist ashtray, French vintage decor, Hollywood Regency decor, travertine ashtray, brass ashtray, stone trinket tray, vintage decorative object, 1960s decor...

Very large rectangular table cigar box in 925/1000 sterling silver with translucent enamels fired on guilloché on all sides, in a modern contemporary style. Interior lined in rosewoo...

Beautiful weathered giltwood winged angel head, France, circa 1750 Weathered and small losses. Measurements include the wooden base. H:20cm W:17cm D:7cm

Pair of mid century and brutalist style wrought iron candle holders. Perfect condition.

Royal Copenhagen small rectangular faience vase designed by Nils Thorsson. Decorated in earthy glazes set in abstract motifs. Model number 721/3258 and its fully marked to the base w...

Vintage Festivo Candle Sticks by Timo Sarpaneva for Iittala A vintage set of eight Festivo candle sticks designed by Timo Sarpaneva for Iittala in 1966. A total of 8 different heigh...

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...

Handcrafted from wood with lacquered black gloss finish, Medea picture frame excels luxury and elegance with its detailing in Corno Italiano, whose remarkable natural nuances will le...

Article: Fat lava art vase XXXL version Model: 517-45 Producer: Scheurich, Germany Decade: 1970s Description: This original vintage vase was produce...

Sculptural green yellow Bullicante vase, decorative accent, bookcase accessory - Collectible Vintage Glass -Art Glass Uncommon Murano vase, hand blown during the 1970s - when the ...