Milan - Decorative Objects

Smurf vase is a decorative piece made with hundreds of iconic figures from the past. It is part of the ‘Cherished’ collection, Diederik Schneemann’s latest project revolving around t...

Made in Italy, 1950s. This glazed ceramic piece is made by Giovanni Girardi, a famous ceramic artisan from Vicenza that worked for Lenci in Turin. It...

Splendid blue Murano glass hippopotamus

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

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 ...

A pair of sand-white gorgonian branches from the Wunderkammer in the shape of a fan. The bases are in carved and silvered wood in the shape of a vas...

This captivating sculpture in Sicilian ceramic from the 1970s is, in fact, a candelabrum, embodying the essence of an era where traditional craftsmanship merged with contemporary art...

This object is a piece of extreme quality and design made of murano glass by designer TYRA LUNDGREN for VENINI, a collector's item for a connoisseur.

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...

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...

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 ...

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

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...

Inspired by the Japanese Amami Islands ringed by coral reefs, this joyful vase designed by Vito Nesta features a playful pattern of different-sized fish in...

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...

This cypress wood vase is designed by Massimo Barbierato and handmade for Hands on Design by Lorenzo Franceschinis, a talented artistic turner. The material look is emphasized by the...

Paolo D'Anna for Vivai Del Sud White Ceramic Monkey Candlestick, Italy 1970s Fully signed.

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

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

Is a centerpiece, Is a fruit holder, Is a single piece of glass, cast, hand embroidered, It's an invention, it's a sculpture, takes the light and...

Made in Italy, 1920s. This trinket bowl / vide-poche is made in amethyst ribbed Murano glass. It might show slight traces of use, but it can be considered as in excellent original c...

Pietro Chiesa for Fontana Arte Playing Cards Box in Cerused Oak and Glass, Italy 1940s The Handle depicts two cannons, and the box inside is divided into three compartments to hold p...

Stunning vintage glass vase dating to the Mid-Century Modern era and made in Murano, Italy with the "Sommerso" technique, where colored glass (in this case in a vibrant green-yellowi...

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 ...

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...

Large polychrome faience amphora with ovoid body and winged sphinx handles. Decorated in the round with mythological motif depicting the rise of the gods to Mount Olympus. The master...

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...

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.

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...

A beautiful Italian Moorish bone inlay frame with saint (Inscribed Roma) for a painting or a mirror. Very much in the Renzo Mongiardino Taste. Inner...

Flavio Poli vase.

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...

Made in Italy, 1980s. This catchall / vide-poche / decorative plate is made in glazed earthenware. It is signed by Pino Castagna. This is a vintage piece, therefore it might show sl...

Bronze candlestick with marble base, Empire period, 19th century Ø cm 13 h cm 20.5

Macchina da scrivere Valentine rossa Descrizione Macchina da scrivere Valentine disegnata da Ettore Sottsass per Olivetti nel 1968 e prodotta ad Ivrea. Qui presentato il primo modell...

The Candelabra - 7 flames sterling silver candelabra - Made in Italy - ag/925/g 2980 handcrafted in Milano, in our workshop Embossing, chisel, casting: silversmith's skills, all in...

Ronzan “stile” Jaguar ceramic, 1950, Italy.

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...

2021 Collection of picture frames by Ghirò Studio. Picture frame of excellent workmanship and artistic quality. The rounded edges give harmony and el...

Scavo glass is a type of ornamental glass with a rough surface with a matte finish in imitation of antique glass, predominantly gray, but also with streaks of various colors. Simone...

Sculpture of a foot in yellow Siena marble. The sculpture rests on a hinted ground. Replica of a classic type, the construction is excellent, from the proportions to the minimum atte...

Marchesa Grey Vase by Erica Zanella Dimensions: D 7 x W 26 x H 33 cm. Materials: Plaster. Marchesa showcases an organic, minimalist silhouette marked by its irregular curves and fl...

May I Kiss You Grey Vase by Erica Zanella Dimensions: D 9 x W 27 x H 29 cm. Materials: Plaster. May I Kiss You was a regular solid block that was hollowed out, transforming into so...

Flintstone Rose Vase by Erica Zanella Dimensions: D 7 x W 25 x H 36 cm. Materials: Plaster. Flintstone features straight lines and a geometric structure. The left side rises promin...

Flavio Poli.

Costume cinematografico topolino film Desperaux - emma Watson premiere - costume. Utilizzato per la premiere del film di emma Watson.

This piece is one of the few that could be attributed to MARIO CACCIAPUOTI , in his brief stint with the MARIO CACCIAPUOTI AND C, In Milan. It is made of stoneware and plated with s...

Italian 1970s Multi Windows Picture Frame in Brass, Chrome and Leather Sold by Nella Longari, probably by Romeo Rega

Post Modern form Brass vase by Egidio Broggi, Milano

Made in Italy, 1960s. This wonderful tulip vase was most likely produced by Cenedese and is made in green hand-blown scavo glass. This is a vintage piece, therefore it might show sl...

"Strato due" Vase in Tuscan Alabaster by Andrea Grecucci Dimensions: 8.5 cm D x 18 cm H 3.35” D x 7.09” H Material: Alabaster from Volterra Italy. Designer: Andrea Grecucci "...

2021 Collection of picture frames by Ghirò Studio. Set of two photo frames, one horizontal and one vertical, of excellent workmanship and artistic quality. The rounded edges give har...

Murano scupltural Vase - Pink Vase in Murano Glass - Massive - Decorative Art Many are the different styles of glass that are created on the island of Murano. Blown, sculpted or mo...

Murano Glass - Table Decorative - Sculptural Accent Many are the different types of glass created by master makers on the Venetian island of Murano. From air-thin vases to expressi...

Made in Italy, 1950s. This is a thick Murano glass bowl / ashtray / vide-poche ascribable to Alfredo Barbini because of its wavy rims. It is made with Murano glass and green canes...

Italian Art Deco candy jars in glass and wood, 1930s Two different models are available.

Rare pair of craquele vases, French 1930s. Marked on the bottom "st clement," the main manufacturer of this type of pot. They are published in all art deco pottery books.

Made in Wien, Austria, 1930s. It is made in white glazed ceramic. This candleholder is vintage, therefore it might show slight traces of use, but it can be considered as in excellen...

Vide Poche Murano Glass Emerald Green Pocket Emptier The present bowl, designed and made in Italy attributed to the glass makers Vetreie di Empo...

Massive Sculptural yellow and clear Vase, Murano Incamiciato Large and heavy Murano vase in "Sommerso" glass. The peculiar technique, translating to "submerged", consists in joinin...