Italy - Sculptures

21st century Karim Rashid Queen vase Murano glass various Amber base Blue Top Queen designed by Karim Rashid is a curvaceous vase that combine regality with visual wit. Proposed in c...

Incredibly stunning large Art Deco woman figure signed by Cia Manna, Torino, Italy, 1950s. Semi nude form of a young woman. It is made in painted and glazed ...

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 ...

This 1980s Italian handmade Murano glass sculpture depicts an elephant in clear glass. This sculpture is in excellent condition and has no scratches or ch...

Stunning pair of 1970s swan-shaped sculptures in travertine and made in Italy, designed by Enzo Mari for F.lli Mannelli.

Mid-century horse sculpture made in Italy in Travertine Marble, by Fratelli Mannelli. marvelous piece to enrich an ambient. A small chip visible on the last photos as indicated by...

Solid sterling silver bull and bullfighter miniature. Both the bull and the bullfighter were made with the casting technique and then chiseled to bring out the details. The precisi...

Superb ashtray with a leather body and glass top. This fantastic item is attributed to Jacques Adnet and was produced in France during the 1950s. The unique element of this magnif...

Geometric solid oak wood pattern. The base, in fruit wood, round in shape, painted black (ebonized), above, a sphere built from geometric elements, held together by a black rope. Abo...

"F" crystal and colored capital letter by Massimo Vignelli for Venini. Part of the "NEON" collection, with original fabric case. Also available from the same collection four other le...

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 ...

Not many Aldo Tura pieces can be compared to this unique table lamp, hand carved from a single piece of wood. Aldo Tura lamps were done in small editions and the detail and level of ...

Splendid blue Murano glass hippopotamus

Gilded bronze sculpture of Hermes,

This sculpture is one of a kind piece, no other one exists and it was realized in 1980 by the well known Italian artist Bruno Chersicla. This is a kinetic abstract sculpture, most o...

Delightful pair of Glazed Porcelain Rooster and Hen , parts in 24 KT pure gold .

Centerpiece in the shape of a horse in hand carved alabaster. Made in Italy, 1970s.

Spring is an original modern artwork realized in 1970s. Realized by Euroesse (label on the back) The artwork is realized on silver plate and gold leaf. Includes frame.

Made in Italy in the 70s by Ernesto Treccani. This is an incredible polished earthenware piece that would fit perfectly in a museum. Measures: height: 140 cm width: 41 cm depth: 22 ...

The Wind is an original marble sculpture made by Anonymous artist and realized in the 1920s. A beautiful white marble sculpture representing a female portrait as the personificati...

Kanne Drite Collection – Blue Murano Glass Vases The Kanne are colored Murano glass cylinders which, fused on the vase, form this wonderful work. Drite is said when the kanne are pos...

Constantin III is a simple but charming candleholder with a geometric shape with rhombus. The body is in solid Canaletto walnut with natural finishing, emphasizing the wooden veins. The cylinder in natural brass on the top is the place where to put an 18 mm candle. 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...

N. 7 plate series Cupole s ‘ Italia N.6 diameter 25 cm.. N 1 diameter 30 cm .

Horse sculpture fragment, ceramic horse, bronze horse Bronze patinated light ceramic sculpture placed on volcanic stone and iron base light refractory ceramic, bronze patinated. dime...

The Cascata Bonsai is inspired by the Niagara falls. The materials are wood and metals, representing both the strength of life and the roots of Mother Nature. Sculptures are compos...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

20th Century Reclining woman with Sphinx Alabaster, 43 x 60 x 25 cm The sculpture depicts a young and charming odalisque lying languidly on a refined sheet. The face with d...

Italian sculptor of the 17th century, pair of candlesticks ...

Ferrari F40 in crystal by Arnolfo di Cambio Italy design in years '80. the work is in transparent and satinated crystal, stainless steel rear spoiler removable in dark gray color, and the F40 is signed on the lower back Arnolfo di Cambio. very rare and international iconic object...

Embrace timeless elegance with this stunning pair of angel heads, originating from a majestic Liberty villa of the 1930s. Crafted with meticulous detail and employing a captivating b...

Sculpture swans Murano glass iridescent half of the 20th century, delicate original and extraordinary craftsmanship.

White ceramic box animal sculpture in the shape of a monkey by Vivai del Sud. Made in Italy in the 1970s. The original label is still attached on ...

This so-called world's most avant-garde trash can comes from Italy. The brand of this spaceship is called SOLDI DESIGN! It is an ecological design brand founded in 2008! With the phi...

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 ...

A natural specimen of an iguana skeleton from the Wunderkammer The specimen is twisted into a circle and hung from a string. Italy, circa 1890.

This is an interesting multiple artwork signed by the author Annie Lambert, a talented young artist of years 80' in Italy. This is a multiple of a numbe...

A stunning Italian late 19th early 20th century hand carved alabaster bust sculpture depicting a young baby girl cradling a dove. The girl wearing a lace bonnet her hair tied back a...

Head of woman man realized in polychrome ceramic with glass eyes. Neaples, 18th Century. Very good condition.

This sculpture Horses and Charioteer is an original decorative object in bronze realized during the 19th century. Very Good conditions ...

Sculpture of a Noblewoman in marble, from the model of the "Fonseca Bust". ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL. Ind...

Italian modern Sculpture of standing bulldogge dog in beige black ceramic, 1970s Sculpture of standing olde english bulldogge dog, in beige an...

Sculpture depicting a man head, made out of black granite, mounted on a square iron base with a brass support. Russia early 18th century.

Sculpture, horse sculpture, marble horse, carrara marble sculpture, sculpture made in Italy. Sculpture of a fragment of an incedent horse in the march Resting on a basalt and iron b...

The piece is a unique representation of a woman's head in a modern way. Our designer creates these pieces completely by hand.   

Sculpture. Unique piece hand made by the artist. 19th-century silk velvet poltrock decorated by the author. Rose back in Pontoglio silk velvet. Trimmings

This artwork was created by the Italian artist Rodica Tanasescu. The title "Insieme" Together Rodica Tanasescu was born in Rumania and now lives in and works in Mestre, (Venezia, It...

Each crystal is exclusive and unique as it has been entirely hand-worked from a block of crystal. This makes it impossible to create two perfectly identical ones. Three natural blocks of crystal was used to make this set of decorative objects . The crystal have been processed by hand until they obtain a perfectly smooth and luminous surface. The color of the crystal is aquamarine with high transparency. They present a modern furnishing...

The jellyfish is the main element of the Mosche Bianche's "Medusa" collection: fluid, delicate but also dangerous and deadly. It represents the water, the circle of life. Glass fu...

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

A black glass head dsigned and manufactured in Italy in the Seventies, it's in perfect condition. The black glass gives it a sleek and sophisticated aesthetic. Glass, with its reflec...

The famous Proust in miniaturized ceramic of the "Ceramic Proust Monochrome Collection" designed by Alessandro Mendini e produced by Superego Editions. Yellow color. Limited edition ...

This exquisite handmade Sicilian ceramic pine nut is a timeless symbol of prosperity, good fortune, and Mediterranean heritage. Crafted by skilled artisans in Sicily, each piece is m...

First half of the 19th century Madonna and Child with souls in Purgatory Lacquered and gilded papier-mache with polychrome wooden base cm 96.5 x 37.5 x 28 "At that time I asked the Lord Jesus: 'For whom do I still have to pray?'. Jesus answered me that the following night he would make me known for whom I had to pray. I saw the Custodian Angel, who ordered me to follow him. At a moment I found myself in a foggy place, invaded by fire and, in it, a huge crowd of suffering souls. These souls pray with great fervour, but without effectiveness for themselves: only we can help them. The flames that burned them, they did not touch me. My Guardian Angel did not abandon me for a moment. And I asked those souls what their greatest torment was. And they unanimously answered me that their greatest torment is the ardent desire of God. I read the Madonna who visited the souls of Purgatory. The souls call Mary 'Star of the Sea'. She brings them refreshment ". (Diary of Sister Faustina Kowalska p. 11) A Polish religious, Saint Faustina Kowalska (1905-1938) reinterpreted in the pages of her testimony the ancient role of the Virgin as savior and supporter of the souls of Purgatory. The Second Vatican Ecumenical Council established that, assumed into Heaven, the Mother of God should operate a continuous intercession in favor of those children waiting for Paradise who were in the place, quoted for the first time by Pope Gregory the Great...

Column-shaped plinth and rectangular cartouche engraved with the name in Greek of the depicted subject. A plaster cast of the head of Alexander the Great is set on the base. A cast f...

Ronzan “stile” Jaguar ceramic, 1950, Italy.

Particular sculpture, auspicious phallic form carved on white carrara marble. Throughout the world , since ancient times and in many religions, the phallic form has always been consi...

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 ...

Green serpentine marble sculpture Late 19th century Height approx. 88 cm. The flying mercury and the bronzes While he was still busy working on the fountain in piazza Maggiore, the papal delegate Cesi asked Giambologna for a statue to be placed in the courtyard of the Archiginnasio, seat of the ancient and prestigious Bolognese university; he should have painted a bronze depicting the god Mercury with his index finger stretched towards the sky, a symbol of the divine origin of knowledge, which would have served as a warning to all students. The project was never completed, but Giambologna elaborated a model preserved at the Civic Museum of Bologna, which is only the first of the numerous bronzes with the same subject made by the artist, defined precisely as flying Mercury. In later versions, the sculptor transformed Mercury into a much more dynamic figure reaching upwards, as if ready to take flight, giving it an unprecedented freedom of movement and lightness. When he returned to Florence, the sculptor certainly proposed it to the Medici, who enthusiastically immediately ordered one to be sent to Emperor Maximilian II of Habsburg, as a diplomatic gift for the ongoing negotiations of the wedding between Francesco and Giovanna, sister of the sovereign. Giambologna replied with the two bronzes preserved in Vienna and Dresden and in 1580 cast the large Mercury now exhibited in the Bargello, originally intended for the loggia of the villa of Cardinal Ferdinando dei Medici to crown a fountain placed in the center of a magnificent decorative complex; the only variant with respect to the previous examples is constituted by the head of Zephyr placed under the foot of the god and from which a breath of wind blows it upwards, accentuating the sense of immateriality. In addition to the successful invention of the flying Mercury, Giambologna acquired immense fame by making numerous other bronzes for the Florentine collectors of the time; his first patron, Bernardo Vecchietti must certainly have owned many, given to him in part by the sculptor in exchange for his protection, but around the 1880s it can be said that there was no collector who did not aspire to own a work by Giambologna, especially those of small format. The development of this trend in Florence is largely due to the artistic passions of the Grand Duke Francesco I, who with the creation of environments such as the Studiolo in Palazzo Vecchio and the Tribuna degli Uffizi, provided new criteria for the exhibition of the works, pushing all collectors to imitate his extraordinary collection. In the Studiolo, in addition to the painted tables that decorated the doors of the cupboards filled with all kinds of things, there were 8 niches containing bronze figures of divinities; Giambologna painted the one depicting Apollo (1573-75), with the characteristic serpentine pose and beautifully finished. The placement of the statuette in the niche was no longer an impediment to the plurality of views as Giambologna endowed it with a sort of mechanism that allowed it to rotate. For the Tribune he instead created the six Labors of Hercules (1576-1589), small silver sculptures...

Masterfully handcrafted in Italy, Kazimir is not only a perfect divider for a Minimalist or Classic rooms, but also a symbolic bridge, linking design to art, functionality to decorat...

This life-size dog was made of resin, probably used as an advertising dog for dog food, an original piece of furniture.