Models of triumphal arches cranked out in Roman workshops to sell to tourists on the Grand Tour. If they want to buy something, you might as well sell it to them. A few more that were not made in Rome but are fun anyway.

Arch of Titus. ca. 1808-1815. Marble and gilt bronze. Made in Rome under the auspices of the Roman Academy of Saint Luke by the silversmiths Giovacchino Belli and his son Pietro. Purchased by King George IV. Image © Royal Collection Trust/His Majesty King Charles III 2022. Fair use license. via
Arch of Septimius Severus. ca. 1808-1815. Marble and gilt bronze. Made in Rome under the auspices of the Roman Academy of Saint Luke by the silversmiths Giovacchino Belli and his son Pietro. Purchased by King George IV. Image © Royal Collection Trust/His Majesty King Charles III 2022. Fair use license. via
Triumphal arch model built by hand and covered with hand-marbled paper. American, made in 2023 in Birmingham, Michigan. Parvum Opus, maker. Image © 2022 Parvum Opus. Fair use license. via
Architectural model of a gateway with the top being detachable from the base. Late 19th-early 20th c. English. Bronze. Maker not known. Image © UK ARCHITECTURAL HERITAGE LTD. Fair use license. via
Arc de Triomphe inkwell. 1850-1899. Bronze (I think). Made in France. Maker not known. Image © 1995-2023 eBay Inc. Fair use license. via

Decorate your home like 1876 will be here forever. Commemoratives from the Centennial Exhibition held in Philadelphia, Pennsylvania in 1876 which celebrated the 100th birthday of the United States of America.

Lady Liberty Centennial Exhibition commemorative statue. A silver-plated column with the Declaration of Independence surmounted by a bust of Lady Liberty, with historical vignettes, created for the 1876 Philadelphia Centennial Exhibition. 1876. American. James W. Tufts, maker.
@gallery_76_americana on Instagram. via Instagram.

Pair of commemorative vases. They are smaller versions of a monumental pair exhibited in Philadelphia at the Centennial Exhibition of 1876 by the French firm of Haviland and Company. They celebrate the hundredth birthday of the United States, this vase commemorating the country’s declaration of independence in 1776, the other celebrating its national prosperity a century later. In addition to the large pair, now in the Smithsonian Institution, Haviland produced only two smaller versions; this pair at the Philadelphia Museum of Art is the only smaller pair still known. Topped by a bust of George Washington flanked by the winged figures of Fame and Victory, the 1776 vase is inscribed with the names of the signers of the Declaration of Independence, and its base is ornamented with Revolutionary War canons. 1876. French. Refined earthenware (terre de pipe) with enamel decoration and applied bronze figures. Modeled by Eugène Delaplanche after a design by Félix Bracquemond. Haviland and Company, Limoges, France, maker. Collections of the Philadelphia Museum of Art. Image © 2023 Philadelphia Museum of Art. Fair use license. Vase itself in the public domain due to age. via
 Frosted, colorless pressed glass lion paperweight. Oblong base with fluted sides surmounted by a lion seated on all fours on grassy ground. 1876. American. Made by James Gillinder and Sons in Philadelphia, Pennsylvania. Maker’s marks: GILLINDER & SONS/CENNTENIAL EXHIBITION molded on the underside of the base. Collections of the Brooklyn Museum. Photo credit Brooklyn Museum. Cc0 license.

Automotive mascots out of the Jazz Age. Some of these having been part of a Agfa Film brand advertising campaign. From a recent Bonham’s auction catalogue.

Mascot in silver-plated bronze and white and blue enamel. Mascot made for the Agfa Film brand for their important advertising campaign in the 1930s. Silver-plated bronze and blue and white enamel. Image © Bonhams 2001-2023. Fair use license. via
Femme Papillon Automotive mascot signed V. Rossi and titled L’Art Allégorique, 17 rue Marois, Paris. Silver-plated bronze, mounted on a Citroën radiator cap.It appears in the catalogue of the magazine “L’Equipement Automobile” in 1922/23. Image © Bonhams 2001-2023. Fair use license. via
La Sirène, Automotive mascot in silver-plated bronze with a high quality marble base. Georges Colin, designer. Signed G. Colin, stamped Syndicat des fondeurs unis, numbered 10 and 1032. It was listed in the Hermès catalogue of 1925, award winner of l’Auto newspaper in 1922. Image © Bonhams 2001-2023. Fair use license. via
Automotive mascot in silvered-plated bronze, mounted on a red enameled Panhard radiator cap. embossed on the wings “Avions Voisin“. Created by a dealer of the brand to decorate his customers’ vehicles. ca. 1930s. Image © Bonhams 2001-2023. Fair use license. via

Victorian centerpieces by Elkington of Birmingham. So much more fun than a plastic bowl of fruit.

Centerpiece with two entwined palms sheltering two dogs or greyhounds, modeled after Pierre-Jules Mène’s Two Whippets at Play. Villeroy and Boch plate in blue and white ceramic, above a shaped bronze base, with two entwined palms sheltering two dogs or greyhounds. Undated, 19th c. Possibly made by the British Elkington and Company. Image ©, Inc. 2022. Fair use license. via
Silverplate centerpiece comprised of elk and palm trees with a mirrored tableau. 19th c. English. Possibly made by Elkington. Image
© 2022 Chairish, Inc. Fair use license. via

.Silvered bronze centerpiece with standing figures of a young hunter, a friar and a fish monger with a spaniel and game at their feet, mounted with plaques with 1859 and 1941 inscriptions. The inscriptions reading: “Presented to William Johnson Esq. as a token of respect & esteem by the workpeople in the employ of Messrs Richard Johnson & Brother, Manchester, January 28, 1859”, and “Worshipful Company of Tin Plate Workers, Alias Wire Workers of the City of London, Presented by Arthur Laurence Johnson M.A., Grandson of William Johnson, both Wire Workers, with his Daughter Eleanor Morton Johnson, a Freeman of the Company, to commemorate his Mastership 1941-42.” The company founded by the Johnsons supplied galvanized armored wire for the first transatlantic telegraph cable in 1857. Original glass bowl. 1859. English. Made by Elkington, Mason and Company. Image
© 2022 Chairish, Inc. Fair use license. via

Parcel-gilt silver centerpiece, the base supported on winged dolphin head feet and wide border decorated with panels of bacchic putti centered by female masks. Fitted with two removable kidney-shaped porcelain bowls with gilt scroll borders. The ends of the base with twin-tailed figures of Neptune supporting detachable shell-form dishes above their heads and flanked by rearing mer-horses. The central support decorated with flowerheads and lotus leaves and flanked by two joyous putti under an openwork basket pierced with panels of cherries spaced by beaded tendrils and hung with swags of chains, the central basket with a removable cut-glass bowl and the shell-form dishes with removable glass liners. 1866. British. Design attributed to Auguste Adolphe Willms. Elkington and Company, maker. Image © 2021 Sothebys. Fair use license. via

A mere bagatelle for the mantelpiece. 19th century garnitures. Gilt, silver bronze and other fun things.

“Persian” mantel clock garniture with two matching two-light candelabra. The clock with a three and a half inch dial with enamel cartouche numerals, the bell striking movement with Brocot suspension and stamped to the backplate HD. The case supported by metamorphic dragons on a shaped marble plinth with gilt base. ca. 1855. French. Gilt and silvered bronze. Adolphe-Victor Geoffroy-Dechaume, designer. Auguste-Maximillian Delafontaine, maker. Image © 2021 Sotheby’s. Fair use license. via

Three piece garniture comprised of a central clock and a pair of flanking vases, all veneered in lapis lazuli with gilt bronze mounts. The clock with a central circular drum case holding the movement, fronted by the dial with enamel roundel showing the time in Roman and Arabic numerals. The clock with a hanging pendulum below and with clockworks set within a case flanked by two columns on each side. Two Greek sphinx figures with female heads and the wings of a bird are placed atop the lintel, set in line with the columns and facing outwards. The clock is surmounted by a lidded urn with flowers and fruit. The flanking vases with similar decorations and featuring twin intertwined serpent handles. Neoclassical, made in the late 19th century with the lapis lazuli veneer added later. French. Image © 2022 Mayfair Gallery Limited. Fair use license. via

Garniture with a central mantel clock and pair of flanking candlesticks. Ormolu with the malachite veneer added later. The mantel clock features a shaped malachite base raised by two ormolu toupie feet and two scrolled acanthus leaf feet. The base supports, via a waisted plinth, the circular white enamel clock dial which is inscribed with Arabic numeral hours indices. The dial is contained within an ormolu bezel and is set within the malachite case. The clock case is flanked by twin malachite and ormolu quiver and arrow elements and is surmounted by a malachite urn-form finial draped with ormolu foliate garlands. The candlesticks are similarly decorated, each raised on a conforming malachite and ormolu base and terminating in a single candleholder. Late 19th c,. Neoclassical French. The enamel dial is signed Ovington Brothers Co. / New York / Made in France for the retailer that originally sold the set. Image © 2022 Mayfair Gallery Limited. Fair use license. via

Automobile mascots straight out of the Jazz Age. A little something to spiff up the Rolls.

Mascot for Automobiles Delahaye, mounted on a radiator cap. Undated. Shaped and riveted aluminum sheets. Attributed to P. Guerre and bearing the stamp of its publisher, SIS. Maker’s marks: Struck SIS on each side. Image  © Bonhams 2001-2022. Fair use license. via

Shooting Star automobile mascot in silver bronze. Signed J. Garnier. Image  © Bonhams 2001-2022. Fair use license. via
Chrome and bronze dragonfly automotive mascot of the manufacturer Desmo with the wings partially in mother-or-pearl. Maker’s marks: Registration #787192 struck under the wings. Image  © Bonhams 2001-2022. Fair use license. via

Surtout de table or table centerpieces. French. They just don’t make them like this anymore.

Surtout de table à la Pagode in finely chiseled vermeil. Composed of a large plate, covered by a mirror and surrounded by balustrades surmounted by covered urns running alongside four small removable basins opening onto two flights of steps flanked by dolphins and, on the sides, onto two fountains with mascarons in the middle of rushes. There is an open pagoda in the center with leafy uprights and an openwork roof with a Meissen porcelain musician in the center. 1873 to 1900. French. Boin Taburet, maker. Maker’s marks: Goldsmith’s signature BOIN TABURET à PARIS. Image © Fair use license. via
Surtout de Table in cast and gilt bronze with hand engraving, cut glass, and silver-mirrored glass. Similar to one used at the wedding banquet of Napoleon and Empress Marie-Louise. ca. 1810. French. Pierre-Philippe Thomire, maker (1751-1843). Image © Cooper Hewitt Museum. Fair use license. via
Central section of a surtout de table of centerpiece for a table of a hundred guests with the theme of France distributing crowns of glory. Galvanic bronze and silver-plated bronze, electroplated. Originally silver-plated, its present color, rough areas, and blisters are due to the terrible fire that destroyed the Tuileries palace during the Commune in 1871. Neoclassical. 1852-1858, commissioned in 1852 by the future Napoleon III. French. François Gilbert, Georges Diebolt, and Pierre-Louis Rouillard, sculptors. Made in Paris by Christofle. Image © MAD, the  Musée des Arts Décoratifs. Fair use license. via

“Retour d’Egypte” candelabra with more than a touch of Egyptian motifs. Very fashionable after Napoleon returned from Egypt. And later. Some of them almost five feet tall.

Pair of Empire “Retour d’Egypt” seven light figural candelabra in gilt and patinated bronze, depicting an Egyptian king and queen clad in draped robes and wearing nemes, their heads supporting pedestal urns with each urn issuing a pair of scrolling candle arms with folate nozzles surmounted by a further scrolling arm and flanked by two crouching female figures, the standing figural supports each holding a further urn issuing four scrolling candle arms, the nozzles supported on ram’s head or wolf’s head cast terminals. The tapering shaped plinths raised on paw feet, and having applied figural relief plaquettes depicting Diana and Endymion. Image © Bonhams 2001-2021. Fair use license. via
Pair of “Retour d’Egypte” candlesticks in gilded bronze. ca. 1850. French. Maker not given. Image © 2021 AnticStore and Mora Antiques. Fair use license. via

Pair of Regency “Retour d’Egypte” ormolu three-light candelabra, each with a flaming finial and three sphinx branches, the fluted column with a lion monopodia base and hoof feet. The lower section of each candelabra depicting a stylized anthemion flanked with florets scrolling zoomorphic supports with lion paw feet, almost certainly modeled on designs of 1799 by Tatham that were disseminated in his “Etchings representing Fragments of Grecian and Roman Architectural Ornaments”. George IV as Prince Regent purchased a very similar pair. 1800-1825. Probably British. Image © Christie’s 2021. Fair use license. via

Ewers from various 19th century style revivals. Why not have something more visually interesting than the food at your next dinner party.

Pair of gilt bronze and crystal ewers in the Etruscan style, each with a gilded bronze handle terminated by a mask, the gadrooned body above a circular foot, centered by a blue enamel emblem with the letters “SAC”. 19th c. Maker not known. Image © and Le Brun Antiques and Works of Fine Art, London. Fair use license. via
Pair of large Renaissance Revival ewers with black marble bases in chiseled, gilded and dark ocher patina bronze decorated in a theme of hunting under the Renaissance (greyhounds and falconry) with hunters with their dogs, an angel, on the beak of the ewer: a grotesque face. The handle with a complex pattern of bars, foliage and volutes and a hawk. Gilt pedestal adorned with acanthus leaves and a stack of moldings. 19th c. Maker not known. Image ©2017 | anticSwiss™ – P.IVA IT02292420482. Fair use license. via

Pair of ovoid gilt bronze and patinated bronze ewers in the Louis XVI or Directoire style, the beak in the shape of a goat’s head, the body decorated with antique bas-reliefs and the handles decorated with intertwined reptiles. Round pedestal bases chiseled with canals and a laurel frieze. 19th c. Maker not known. Image © and Une Autre Epoque. Fair use license. via
Pair of bronze ewers with two patinas depicting bacchanal scenes after Clodion with the gilded bronze frame supporting the body with large stylized acanthus leaves and a circular pedestal base with channels adorned with a frieze of vines and a frieze of pearls. The medal patina body being decorated with bas reliefs after Clodion, depicting putti and child satyrs manhandling a dog and a goat while brandishing thyrsis with vines and friezes of gilded bronze beads adorning the upper part of the ewer and the weir being decorated with water leaves at the base as well as a decoration of vines and friezes of olives and coins. Gilt bronze guilloche handles, each straddled by a winged bacchic putto holding bunches of grapes and seated in front of a bird with vine leaves wrapping around each handle which is also decorated with grooves and foliage and finished with a ram’s head topped with leaves. 19th c. The scenes depicted are similar to bas-reliefs made by Clodion (1738-1814) at the request of the Princess of Bourbon-Condé in 1781. Clodion worked in the Rococo and Neoclassical styles. Image © JLF Antiquités,  Saint-Ouen. Fair use license. via

Make your automobile smile. Buy one of these chromed Art Deco mascots for it. All of these from a recent Bonham’s auction.

“Stork” mascot in chromed metal, based on the famous design by Francois Bazin. Mounted on a period radiator cap. 1935. Maker not shown. Image © Bonhams 2001-2021. Fair use license. via
“Serpent” mascot in nickel plated bronze, on a chromed locking radiator cap. 1920s. French. J. A. Bebin, maker. Image © Bonhams 2001-2021. Fair use license. via
“Lady water-skier” mascot in chrome plated die-cast metal, mounted on a radiator cap. 1930s. American, made in Chicago by Krone and Sebek. Image  © Bonhams 2001-2021. Fair use license. via
Automobile mascot modeled as a winged nymph in the nude holding the chains of an aquaplane board. Chrome plated die-cast alloy mounted on a radiator cap. 1930s. British. Maker not given. Image © Bonhams 2001-2021. Fair use license. via