Los Angeles - Decorative Objects

Beautiful pair of metal footed dish grotto style with men riding giant fish hunting figurines. Great carving details.

A palace size antique French ormolu-mounted Sevres Porcelain covered Urn. This magnificent vase painted on a white porcelain body centered with a Bouguereau style painting of female beauties encompassed by Cupids in a mythical garden setting with swans and a gazebo on one side, and a flying cupid observing a winged cherub holding a dove on the reverse. Signed: CH. Fuchs Marked with blue interlaced L's mark circa 1890 Dimensions Height 66" (167 cm) Width 24" (61 cm) Depth 18" (45 cm) The mark Ch Fuchs stands for the renowned painter Charles Fuchs...

Handsome magazine rack by Jacques Adnet. Made of iron and brass. Excellent vintage condition. Star detail on both sides and closed fist on top. Great piece!

A Very Fine and Impressive Bohemian 19th Century Vienna-Style Neoclassical Revival Style Pirkenhammer Porcelain Vase - Urn. The ovoid shaped finely painted all around body with allegorical scenes representing 'The Search for Love', with one side depicting a pensive maiden seated on a rock form by the seashore, the opposite side depicting a maiden, also seated by the seashore, being visited by a love-cupid (cherub or angel), flanked by a pair of finely detailed double-headed snake-form 24 carat gilt handles centered with mask terminals, raised on an attached circular gilt, cream and blue Celeste decorated plinth. Stamped with an underglaze black printed crossed hammers mark and further mark "O.P.C.N. / RAD" to the underside. The associated and later domed cobalt-blue, cream and gilt decorated porcelain cover-lid with a cream and gilt bud finial, not original to the vase. Signed "Al Eckardt". Circa: Bohemia, 1890-1894. The porcelain painter A. Louis Eckardt is mentioned by Waltraud Neuwirth, Porzellanmaler-Lexicon (1977), Vol. I, p.251 as working from the Prager Strasse in Dresden in 1894. The Bohemian Pirkenhammer factory was founded in 1803, and in the second half of the 19th century the factory was exporting to Vienna and London. The Prikenhammer marks on these vases show they were made after 1887, and it is therefore likely this vase can be dated between the time of the introduction of the mark for this Bohemian factory, and the time Eckhardt returned to Dresden in 1894. Eckhardt is also recorded as a painter of Berlin plaques. The Pirkenhammer porcelain factory was established in 1802 in Karlovy Vary using...

20th century Original painted heavy cast iron door stop full body cow doorstop.This is a three dimensional cow door stop.

A stunning 19th century Neo-Classical style hand carved white Carrara marble figural group depicting a semi nude lady reclining by a Roman caesar seated o...

After Julien Dillen (Belgian, 1849-1904) A Large Carved Marble Sculpture of "Femme au Bouquet" depicting a kneeling young nude girl with a bouquet of ro...

A fine and large French 19th century Louis XV style gilt bronze figural Chenet (andiron) and Fender Suite. The impressive fender surmounted on each end by a figure of playful battlin...

Anna Torfs large Armadillo sphere glass sculpture or vase in bronze with sanded finish. Other colors and finishes available.

Acquired in Paris France, this is a wonderful paperweight. A Helmut mounted on a piece of marble - a compliment to any desk or work station. The helmet is metal and the sides move a bit, as they are supposed to. A great curiosity, wonderful for a housewarming or fathers day gift.

A fine pair of French 19th-20th century Louis XV style gilt bronze and Faience porcelain three-light candelabra table lamps. The ovoid porcelain urn hand decorated in floral burgundy...

Polished onyx ashtray features an all over cream color with brown and red veining throughout and a thick edge. The round vessel has a deep curved well perfect for trinkets, ash or ev...

A wonderful sculpture of a ship with large blowing sales, this simple, yet effective sculpture would be perfect on any shelf, especially for the lover of the sea or seaside home.

Unique pink ceramic t-shirt vase. Very interesting sculptural object. Larger ceramic t-shirt vase available in separate listing. Matching t-shirt vase ava...

Elegant ceramic box made in Italy, circa 1970s. Black and white color theme with white flowers. Great condition. Perfect stash box or tabletop object. Marked Made in Italy on underside.

A wonderful box of art gold, with detailed corners and centerpiece, all with stones. All Stones are in tact with no chips or fractures. The box is lidded with a hinge and has an in...

Our large, square black Chinoiserie frame was handcrafted by Kipper in our shop. Design/style is originated from China. Absolutely stunning hand painted figures of a traditional ser...

Beautiful ceramic box with green and white coloring by Longchamp. Marked "Longchamp France" on underside. Great stash box and tabletop object.

Beautifully detailed. Hand sculpted terracotta on original marble plinth.

David Cressey Pro/Artisan collection planter for Architectural Pottery. This stoneware planter has a speckle glazed interior and exterior in light olive. The petite table planter has...

Substantial Hermès paper holder with a detailed horse head handle in solid metal. Hermès Paris stamped on the base as well as Made In France. Light...

Silver plate letter opener - a large and well designed letter opener in silver plate - ergonomically designed and weighted on one end for easy handling and an artful design - handsom...

20thc patinaed bronze mermaid statue. Amazing conditioning with wear to the base. the resting mermaid has an amazing greenish patina that has great age to it. In very good shape.

Deep azure glass bud vase with canary yellow detail. Hangs delicately to display a bud in the window. A complement to any room, particularly in a open s...

Ocean sculpture is conceived, designed and created by award-winning artist and architectural designer Michael Olshefski of Primal Modern. Inspired by sea fan corals of the Fijian Bligh Water, this beautiful award-winning 360-degree pivoting sculpture showcases stunning spalted Buckeye burl...

A wonderful example of Arts and Crafts Hammered Copper. Hand-crafted classic design with a hammered texture; a welcome addition to the Arts and Crafts space. The letter opener is ...

A unique piece - a man, perhaps a jester, holding an umbrella with a bird. The piece would make a nice decorative item or even a paperweight. Folkart decorative.

A wonderful pair of iconic C2 Design bookends. The pair combine a combination pop Nose and Ear. The resin has a stone look and are very popular. The pai...

French saddle leather waste bin with a substantial braided leather handle. Great coloring to saddle leather. Large brass ring hardware. Adnet style contrast stitch throughout. Plasti...

The Vintage Italian Organic Wood Sculpture from the 1980s, displayed on a square marble base, is a captivating art piece that harmoniously combines natural wood forms with the elegan...

This beautiful 1970s-era vase was manufactured by the highly acclaimed West German ceramics manufacturer Scheurich. The vase has an interesting glaze pattern in a rich palette of ora...

A superb quality 19th century French Louis XV Style Ormolu Mounted Mahogany and King-wood Parquetry "Re´gulateur de Parquet" Grandfather longcase Clock by Haentges Freres. The drum...

A very fine and Monumental French 19th century patinated bronze group Titled "The Abduction of the Sabine Women" after a model by Pierre Loison (French, 1816-1886), depicting a young scantily maiden being carried away on the arms of a Roman soldier, raised on circular ebonized wood and brass revolving pedestal stand. Signed at the base: P. Loison, circa: Paris, 1870-1880. Overall height (Sculpture and Pedestal): 91 inches (231.2 cm). Sculpture height: 54 3/4 inches (139.1 cm). Sculpture width: 24 inches (61 cm). Pedestal height: 36 inches (91.5 cm). Pedestal width (Widest): 25 1/2 inches (64.8 cm). Pierre Loison was a French sculptor of the 19th century born in the seaside town of Loir-et-Cher on July 5, 1816 and died in Cannes on February 3, 1886. In 1841, he joined the Pierre-Jean David d'Angers workshop where he became one of his favorite pupils. A year later he attended the School of Fine Arts in Paris. He exhibited for the first time at the Salon des artistes Français where in 1845 he was awarded third-class medal. In 1853 he was awarded First Place medal and at the Universal Exhibition of 1955 he received an honorable mention and another medal award in 1859. On 12 July 1859 and by decree, he was made "Chevalier de la Légion d’Honneur". Pierre Loison is buried at The Montparnasse Cemetery in Paris. Works by Pierre Loison "Femme assise": Terre cuite (1843) au musée Gustave-Moreau à Paris "Jeune fille portant un vase": Statue en marbre blanc, (h. 1,25 m) datée de 1857 et présentée au Salon de 1859 ; la statue fut d’abord placée au Palais-Royal (appartements du prince Napoléon) ; elle est actuellement au musée des Beaux-arts de Dole ; une réplique de taille réduite est au Musée des arts décoratifs de Paris. "La Halle aux grains de Mer": Chaque façade de ce bâtiment, classé à l’inventaire supplémentaire des monuments historiques, comporte un fronton triangulaire et celui de la façade ouest représentant « L’Agriculture distribuant des couronnes aux enfants de Beauce et de Sologne » a été sculpté gracieusement par P. Loison, natif de la commune. "La Justice assise": Allégorie de la Justice au fronton du Palais de justice de Blois (1847). "Buste d’Achille Fould": Au musée du Château de Blois 8; "Nausicaa": Statue en plâtre présentée au Salon de 1874, au musée des Beaux-arts de Vendôme. "Statue de J-B. Pigalle sur la façade de l’hôtel de ville de Paris "Sculptures extérieures du Palais du Louvre": Pierre Loison est l’auteur de neuf statues qui décorent les façades du Louvre "Figure" (1878) au deuxième étage du Pavillon Marsan10; "La Navigation" (1868) sur la balustrade du premier étage du Pavillon des États11; "Pandore" (1861) sur l’aile Est12; « Vénus » (1865) Aile Marsan13; "l’Histoire et la Vérité" (1857)14; "La Poésie et la Philosophie" (1857)15 deux oculi du Pavillon Mollien, coté cour Napoléon ; "Concordet" (1857) sur la balustarde du premier étage de la Rotonde de Beauvais, coté cour Napoléon. "Statue de Sappho sur le rocher de Leucade : datée de 1859, (h. 1,85 m) sur la façade nord de la cour carrée du Palais du Louvre à Paris ; le modèle en plâtre, offert par Mme Loison, est au musée des Beaux-arts de Blois. "Vierge à l’enfant": Statue en marbre en l’église Saint-Pierre de Dampierre-en-Yvelines. "Jeune romain enlevant une Sabine": Groupe présenté au Salon de 1863 qui a été reproduit en bronze par la fonderie d’art Raingo frères. "Sépulture de la famille Hautoy : Au cimetière du Père-Lachaise, deux bas-reliefs en marbre représentant l’un "La vie de Famille," l’autre 'Le chantier," datés de 1880. "Demoiselle d’honneur de la Cour de François Ier": Statue en pierre exposée au Salon des artistes vivants en 1870 ; acquise par l’État à ce Salon, elle a été déposée en 1891, devant la mairie d’Aubin. "La Paix distribuant des palmes aux génies des Beaux-arts": Fronton du Château de Compiègne (1866). "Daphnis et Naïs": Groupe en marbre (1869) au musée de Picardie à Amiens. "Jean-Baptiste Pigalle": Statue en pierre (1881) sur la façade principale, au rez-de-chaussée de l’Hôtel de ville de Paris. "Gisant de Ferdinand-Philippe d'Orléans: dans la chapelle royale de Dreux en collaboration avec Ary Scheffer. "La Grace": Statue en marbre (1875) dans le grand foyer de l’opéra Garnier. The Abduction of the Sabine Women The Abduction of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. The Abduction is supposed to have occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to found families, the Romans negotiated unsuccessfully with the Sabines, who populated the area. Fearing the emergence of a rival society, the Sabines refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women, during a festival of Neptune Equester and proclaimed the festival among Rome's neighbours. According to Livy, many people from Rome's neighbours including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines attended. At the festival Romulus gave a Signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. Livy says Romulus offered them free choice and promised civic and property rights to women. According to Livy, Romulus spoke to them each in person, declaring "that what was done was owing to the pride of their fathers, who had refused to grant the privilege of marriage to their neighbours; but notwithstanding, they should be joined in lawful wedlock, participate in all their possessions and civil privileges, and, than which nothing can be dearer to the human heart, in their common children." Responsibility of the men for meeting the needs of the children thus conceived was not included. War with the Sabines and other tribes Outraged at the occurrence, the King of the Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a temple to Jupiter Feretrius (according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as spolia opima. According to the Fasti Triumphales, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC. At the same time, the army of the Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the Fasti Triumphales, Romulus celebrated a second triumph in 752 BC over the Antemnates. The Crustumini also started a war, but they too were defeated and their town captured. Roman colonists subsequently were sent to Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women). The Sabines themselves finally declared war, led into battle by their king, Titus Tatius. Tatius almost succeeded in capturing Rome, thanks to the treason of Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was thrown from a rock known ever since by her name, the Tarpeian Rock. The Romans attacked the Sabines, who now held the citadel. The Roman advance was led by Hostus Hostilius, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way, They retreated to the gate of the Palatium. Romulus rallied his men by promising to build a temple to Jupiter Stator on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning. At this point, however, the Sabine women intervened: [They], from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you." The battle came to an end, and the Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later. The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle. Artistic representations: The Rape of the Sabine Women by Johann Heinrich Schönfeld The subject was popular during the Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added advantage of a sexual theme. It was depicted regularly on 15th-century Italian cassoni and later in larger paintings. A comparable opportunity from the New Testament was afforded by the theme of the Massacre of the Innocents. Giambologna The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. Nicolas Poussin Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634–35. It depicts Romulus at the left giving the Signal for the abduction. The second version, of 1636–37, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed. Peter Paul Rubens Peter Paul Rubens painted a version of the subject about 1635–40. It is at the National Gallery, London. Jacques-Louis David Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women ) was completed in 1799. It is in the Louvre Museum. David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the IDEA of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. The painting depicts Romulus's wife Hersilia — the daughter of Titus Tatius, leader of the Sabines — rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords. The rocky outcrop in the background is the Tarpeian Rock. John Leech The English 19th century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume...

A very fine and charming Italian 19th century life-size Carrara marble sculpture of "A Mother and Child" depicting a young joyous mother holding her young child in her arms, by Profe...

A fine quality 19th century Royal Vienna hand painted porcelain covered Potpourri vase / urn. Constructed in three pieces with a lid and a se...

A unique vase - from shape to having legs and the special Medallions surrounding the piece. The Medallions are the front and back of Coins - an interesting scallop top with four cur...

Italian marble art bowl by Sergio Asti for Up & Up. Italy c, 1970s. Polished Massa Carrara white marble with gray veining.  Marked “UP & UP - massa carrara” Dimensions 7" diameter x...

Very pretty signed Fontana Arte, vide-poche. We think is Max Ingrand design.Also Pietro Chiesa worked at Fontana's at same time. Signed with FX and acid Fontana Italy.

This vintage round two-tone rattan coiled boho woven basket bowl reflects the timeless appeal of traditional craftsmanship. Rattan weaving has been practiced for centuries in various...

Beautiful mid century bowl by the well known artist / designer Pol Chambost . This plate in fish shape maybe was part of large serving set .

A fine pair of French 19th century Rouge-Royal marble and figural gilt bronze-mounted flambeaux urns surmounted with four ormolu figures of dolphins supporting the center urn with th...

Beautiful silvered metal box of an elephant in a very traditional Anglo -Indian craft, art. Has an amazing age patina in contrast with the inside, as shown.

A rare polished stainless steel candle tree by Xavier Feal for Inox Industrie.

Fantastic cement amoeba bowl by Swiss architect Willy Guhl for Eternit. Bright red base and grey top. Very unusual design with beautiful patina. Good vintage condition. Wear as shown.

Unique vintage forged iron candle holder from Spain, 1940's. Arched iron arm with curl detail and three-leg iron base. Surface shows nice ag...

Hand blown glass vase by Robert Kuo, c.2000s, USA. The vase was produced using the peking glass method which originated in China. The soft glowing green colored glass is blown into i...

Great Rookwood pottery vase.This vase is signed C S T in bottom as shown. Charles S Todd, hand painted in this abstract vines from top to bottom.

Monumental sculptural head of President George Bush. Made of foam, paste and hand-painted. Very unique piece of sculpture. Massive scale. President Nixon...

A wonderfully architectural Pair of silver plate candlesticks - the pair are reminiscent of columns and are a compliment to any dining table, mantle or console. The finish is a polis...

Wooden ladle with octopus tentacle carvings along the outer cup with inlayed abalone detailing. Dimensions 13” width x 5” depth x 4.5” height. Condition Good vintage condition; pro...

Twentieth Exhibitions is proud to present the début of Hydrochrom, a family of glass sculptures by LA-based artist and designer Sébastien Léon. Hydrochr...

Signed mid-century brutalist stoneware. Each piece is a unique blend of form and raw beauty, bearing the signature of a skilled artist. Measuremen...

Ceramic bowl planter from David Cressey's Pro/Artisan collection for Architectural Pottery. The planter has a gray speckled glazed interior and exterior, with slightly bowed sides an...

Sculptural standing catchall made of iron, twisted in an elegant spiral design. Starting small at the top and then widening out towards the bottom, until reaching the large circular ...

Embrace timeless elegance with our vintage heavy-gauge metal peacock. Crafted with precision and enduring charm, this unique piece showcases intricate details and sturdy craftsmanshi...

Hand-carved and beautifully crafted natural Calabash gourd bowl, made by artisans in West Africa with gorgeous tribal geometric pattern. The calabash gourd ...

Pair of French 19th-20th century baroque style patinated bronze figural chenets (Andirons). Each chenet topped with a cherub standing on a stand flanked by styrs and royal goat-heads...

A vintage tarahumara pottery vessel. Crafted by the tarahumara indians, it showcases a timeless primitive design complemented by rawhide lacing. Thi...