Italy - Decorative Objects

1980s Modern Murano Glass Cylinder Vase – Multicolor Millefiori Style Brighten up your space with this stunning 1980s Modern Murano glass ...

Cigarette case silver 925 , striped and oval section in 925/1000 sterling silver. Opening button and spring opening . Early 20th century Art Deco style. ...

'Trophy Bottles Set' Hand-blown Glass bottles. The Trophy Bottles Set by Simone Crestani. Set includes 1 Deer Bottle, 1 Longhorn Bottle, and 1 Bigho...

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...

Bowl sculpted by hand from a solid block of Imperial Green marble. Polished finishing. Dimensions: Small L 35 x W 17 x H 8 cm. Also available:...

Ballpoint Pen cylindrical for large Desk. Ballpoint Pen in 925/1000 sterling silver gold plated 24carats. Ballpoint Pen with translucent fired enamels on guilloché Modern Contemporar...

Barovier & Toso Production Murano, Italy ca. 1950 Transparent twisted glass photo frame with brass mount and central decoration. Elegant and of considerable size. The brass part has...

Indian Summer vase, clear light fuchsia and matt ocean blue. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish design collection. Meas...

Elegant Set of paper divider and desk pen holder in crystal glass in shades of antique pink with brass accessories, produced in the 70s by the French company Saint Gobain and attribu...

Spaghetti vase, red. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: XL - ø 30cm x H 56cm Other sizes available. Colours: Red. ...

Gajna Decanter The Gajna Decanter is an extraordinary hand-blown piece by Simone Crestani, part of the imaginative Gajna Wine Collection. With its playf...

Meticulously crafted from varnished wood with an extra glossy finish and adorned with a printed "full color" glass panel, this masterpiece is a true sight to behold. The interior, li...

Shaped pill box in 925/1000 sterling silver gold plated with translucent fired enamels on guilloché and hand-painted floral miniature, with fine hand engravings. Viennese Art Nouveau...

Indian Summer vase, clear light fuchsia and matt ocean blue Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: XL...

Fine Art Deco vase by Charles Catteau Boch, La Louvier Gres Keramis Belgium, 1920 circa Glazed ceramic with blue deer Excellent condiction.  

Wonderful Mid-Century collection of three decorative bowls or ashtrays in sommerso Murano mouth blown black, orange and white glass with gold details. This incredibly charming and un...

Gorgeous decorative plated or centerpiece by Frumento Spotorno in pottery. Made in Italy The item is signed on the bottom and it's in very goodcondition. Dimensions: diameter 13,77" ...

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This eleg...

Rare antique 19th century table clock in ormolu gilt bronze. Characterized by a refined decoration chiseled in bronze, in the upper part a s...

Important sculptural vase carved by hand from a solid block of Arabescato marble. Vase dimension: D 52 x H 45 cm. Available in different marbles. Limited edition of 35. Each vase...

Midcentury amazing black and orange sommerso Murano glass vase. Mario Badioli probably designed this fantastic piece in the style of Picasso in Italy dur...

Spaghetti vase, clear and gold. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Picture showing L size. When ordering alternative sizes the proporti...

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...

Hand-made box with gold leaf application on graphite drawing. A chameleon climbs up from the paper to the branches around the wooden box. Entirely decorated by hand with gold leaf on...

Lucite resin cube with gears inside attributed to Pierre Giraudon, circa 1970.  

Stunning Murano glass egg-shaped vase in Murano mouth-blown glass with gradient colors. This spectacular and unique object was designed by Salviati and produced in Murano. In fabulo...

Handcrafted from eco-friendly leather in a woven weave finish, this exquisite basket is the ideal solution to keep any area organized. Part of the Demetra series, this small basket, ...

This magnificent bust of Apollo, the Greek god of art, medicine, and music is directly inspired by the Classic marble statues in the Roman tradit...

Heavy rectangular solid silver decorative box made in Valenza - Italy in the late 60s by ARVAL ARGENTI VALENZA. The box is hinged and is smooth on all 4 sides. A thick embossed plate...

Paperweight with sphere shape in grey Bardiglio marble. Measure: Diameter 8 cm Each piece is in a way unique (since each marble block is different in veins and shades) and handcra...

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...

Round The Clock - Clear Amber And Green, Matt Fuchsia Clock in hard resin designed by Gaetano Pesce for Fish Design collection. Additional Information: Material: Hard resin Co...

A superb example of a 1960s oval sommerso (submerged glass) blue and yellow Murano glass bowl by the Venetian furnace Cenedese. In good condition with the original stickers intact.

The Classic design of this porcelain vase comes back to life with retro decorations with a contemporary flavor. The Italian coast of Amalfi inspires t...

The organically shaped bowls of different sizes and forms offer multiple opportunities of poetic harmony. The iridescent amber contains all the colors of the spectrum and fascinates ...

Set of two photo frames, one horizontal and one vertical, of excellent workmanship and artistic quality. The rounded edges give harmony and elegance. The high transparency crystal ha...

Inspired by the biblical great flood, this bowl is engraved with animals and a wave-like motif. Part of the brand's Masterworks collection that features objects of pure artistic and ...

Vase/decorative object in the style of Archimede Seguso made of transparent and double Murano glass as a "rostrato". Made in Italy in the 60s. Please watch the video and photos caref...

Now available in Christmas Edition! Renzo Line is a family of multipurpose trays with a very smooth surface and soft curved edges, now available in different color compositions. Eac...

Twin-C vase, clear grey and clear. Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: XL - ø 30cm x H 56cm Other sizes available. Colours:...

Medusa vase, Matt green Vase in soft resin designed by Gaetano Pesce in 1995 for Fish Design collection. Measures: M ø 16cm x H 26cm Other sizes available Colours: Matt g...

A Pink and gold ceramic box manufactured in Sesto Fiorentino in the 1950s, good conditions overall, normal signs of the time and use. It's marked on the bottom. A lovely example of h...

Italian Florentine hand carved wood torchère as floor lamp, a tall solid cembran pinewood pricket carved on three sides, with a deep acanthus leaf and flowers carving, resting on tri...

This anthropomorphic vase is made entirely by hand and painted in a dark burgundy matte monochrome tint, rich in natural pigments and resin binder...

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...

Pamper your furry friends with our new Pet bed. A wooden structure masterfully handcrafted covered in leather with precious canaletto walnut wood base and so...

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...

"VeArt" Enameled Murano vase, Made in Italy, 1980s.  Light blue "encased" art glass vase with white interior. It is in perfect condition.  The price of shipping is for the Italian te...

Elegant basket bowl with handle framed by brass , made in Italy in the 1970s.

The value of change in a simple act. Karen Chekerdjian’s new creation puts design front and centre: from one foundation, multiple possibilities. Whether empty or filled with flowers,...

A very large four shelf 1940s Italian cream Vanity case with leather corners and handle and lined with raw silk. Each shelf fits together with four brass clasps all in good working o...

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 ...

Tuscan sculptor Michele Chiossi, has found in marble a medium to describe modernity with its myths and symbols, creating the Contemporary collection. An emoji can be a tray; an emoji heart, not necessarily pierced by an arrow, can be a place of creativity in the kitchen, a chopping board or a working surface; a dash; a zigzag; granting the marble a moment of levity, becoming vertical in a vase; reflecting an ideal image of ourselves. Unique objects to be experienced as a couple, to gift to friends, jewels of our daily lives. Time and smoke pass, ashtrays remain. As everlasting as marble, as elegant as a concentric circle of smoke spreading through the air. Chiossi revisits the most Classic of living room...

The Classic design of this porcelain vase comes back to life with retro decorations with a contemporary flavor. Black Dragon Pool is inspired by the h...

Splendid Italian green brass picture frame decorated with a twirl metal frame. Inner picture size 8 x 13 centimeters

Big decorative baskets solid brass Italian design 1950s Egidio Casagrande.

A fabulous gift for a sophisticated modern woman, this stunning perfume bottle conjures up images of hibiscus flowers blossoms against a clear sky. Marked by linear hand-engravings t...

Hello Matisse Coral Totem

Unique piece sign by the artist. The seasonal flowering of the wisteria, its scent, the pergolas to which it acts as a roof, gave the artist the inspiration for the creation of this...