An angelfish worked flat, its body filled with blue and white murrine florets and its fins drawn out to fine clear points. Held up to a window the murrine read individually, like a section through a garden. 12 × 3.5 × 12.5 cm. Worked...

A dolphin arched through a clear crystal wave, the body seeded with blue and red murrine that gather along the back and thin out toward the tail. Smaller and quieter than the rainbow dolphin, and easier to place. 12.5 × 7 × 8 cm....

A ladybird the size of a thumbnail, its shell pulled in red crystal and spotted in black while still hot. At 5 cm it is the smallest piece in the collection — the one that ends up on a desk, a windowsill, or a...

An eagle at full span, both wings extended and the body tilted into the turn, cast in bronze and set on a polished marble oval with clusters of amethyst at either side. Where the standing eagle is about weight, this one is about reach...

An eagle caught at the moment it leaves the rock, cast in bronze by hand and mounted on a cluster of natural rock crystal and amethyst. The stone is quarried, not moulded, so the base of every piece differs — its colour, its fracture,...

A camel and an Arabian oryx sharing one base — two animals of the same desert, cast at the same scale so neither dominates. The straight horns of the oryx cut against the camel's curve, which is the reason the pairing works. 33 cm....

A dolphin caught mid-leap, the arc of the body striped in turquoise, green, and amber along its length. Mounted so the tail carries the weight and the head stays clear of the surface — the whole piece reads as movement held still. 16.3 ×...

A camel folded down onto its knees — the resting posture, and the harder of the two to model convincingly. At 20 cm it is the smallest Ebano piece in the range, low and wide enough for a desk or a shelf at eye...

A rider seated on a walking horse, hair and dress carried back by the movement — a quieter subject than the rearing and jumping pieces, and the one that reads best in a room rather than an office. Bronze on a deep amethyst bed....

A gazelle standing alert, head raised and long ringed horns swept back, cast in bronze on a bed of rock crystal over marble. The stance is the whole piece — weight on the front legs, ready to move. The stone is quarried rather than...

A bull standing four-square, the body banded horizontally in green, rose, amber, and blue, with horns and tail drawn out in clear crystal. The stance is what makes it — heavy in the shoulder, light on the legs. 23 × 11.5 cm. Worked by...

Two hearts lifted on a pair of wings, finished in polished silver tone on a mirrored disc. This is the large version at 20 cm — enough presence for a console or an entrance table, and the size usually chosen for a wedding or...

The small version of the winged hearts, 11 cm on a mirrored disc. Sized for a bedside table or a desk, and the one bought when the gesture matters more than the scale. Made in Italy and supplied in its original Ottaviani box with...

A seahorse in softer colour than the rainbow version — rose, cream, and pale amber running the length of the curved body, with the dorsal fin and crest pulled out by hand. 23.5 cm on a clear foot. Worked by hand from hot crystal,...

A table lamp from Ottaviani's Flamingo line, its stem stacked from cut crystal spheres in rose and smoke that pick up the light long before the lamp is switched on. The pleated shade keeps the glow soft and directed downward. Standing 55 cm, it...

A camel standing at rest, the bronze worked to show the coat rather than smoothed over it, mounted on a wide bed of raw amethyst. Of everything Ebano casts, the camels are the pieces that belong most naturally in a Saudi home. 33 cm....

A stem built from alternating crystal spheres in aquamarine and smoke, the colour set into the glass so it holds whether the lamp is lit or not. At 55 cm it pairs naturally with the rose version — one on each side of a...

Ovo is an egg turned from solid acrylic and cut all over in a fine diamond grid, lit from within a slim gold base. Acrylic takes a deeper cut than glass without the weight, so the piece is large in appearance and easy to...

The largest bird in the collection at 56 cm: an eagle dropping onto its prey, wings swept back and talons forward, mounted on a split amethyst geode whose violet interior is left exactly as it came out of the ground. The stone is quarried...

A horse's head painted across bare wood planks, the grain left visible through the paint so the boards become part of the animal. Silver leaf is worked into the mane and the background, catching light the pigment cannot. Square, 100 × 100 cm. Signed...

Horse and rider clearing a fence, the animal folded at the knee and the jockey low over the neck — the instant of the jump rather than its approach or landing. Cast in bronze over a base of amethyst and citrine on marble. The...

Two camels on one base, one standing and one seated — the pair as they are actually found, not posed in matching positions. Bronze on a bed of rock crystal and amethyst over black marble. 32 cm. The stone is quarried rather than cast,...

A horse rearing onto its hind legs, the whole weight of the bronze carried through two points of contact — the hardest thing to cast and the reason this piece is priced as it is. It stands on a bed of citrine and rock...

Two boats drawn up on their reflections, painted directly onto wood planks with silver leaf laid into the water. The grain runs horizontally behind the hulls and reads as the surface of the water — the support doing part of the work of the...

Three horses moving together across a marble slab set with rock crystal and amethyst — one leading, two following, each cast at a different phase of the same stride. Composition is what this piece is about: it changes completely depending on which side you...

Aurora stacks four crystal spheres in graduated turquoise, the colour deepening toward the base so the stem appears to fill from the bottom up. 52 cm under a pleated shade — the shortest of the coloured lamps and the easiest on a crowded bedside...

Warm amber crystal spheres graduated up a chrome shaft, reading gold under lamplight and honey by day. 58 cm. The warmest of the coloured lamps, and the one that sits best with brass and walnut. Made in Italy and supplied in its original Ottaviani...

A row of trees reduced to blocks of red, ochre, and white, painted on wood and sealed under a high-gloss finish that makes the colour read as though it is still wet. Vertical at 80 × 120 cm, and the strongest colour statement in...

Buonasera turns its crystal on a lathe into a classical baluster — a shape borrowed from stone balustrades and reproduced in clear glass. At 71 cm under a wide shade, it is the most traditional lamp Ottaviani offers, and the easiest to place in...

Brushed steel meeting carbon fibre at the middle of the barrel — two materials with opposite surfaces, one matte and directional, the other dark and woven. A pen for a desk that is already working in metal and glass. Presented in its original Ottaviani...

The largest canvas in the collection at 150 × 75 cm: a tree whose leaves are worked in gold and silver over a pale grey ground, each one raised and catching light separately. Hung where it can be seen from an angle, the whole...

The small Gemma, 12.5 cm: a domed crystal shade cut in a fine diamond grid over a slim gold base, with the light source inside the dome itself. Sized for a bedside, a bathroom shelf, or a dining table where a low glow is...

A burst of petals radiating from a single centre, painted in every colour of the wheel with a palette knife rather than a brush — each stroke laid once and left. The most abstract piece in the collection, and the one that carries a...

A mechanical pencil taking a 2.2 mm HB lead — thick enough to sketch with, not just to write. The body is plated brass in matte black with a chrome tip and clip, and it has the weight that makes a pencil sit still...

The full-height Gemma at 74 cm — the tallest lamp in the range. Flattened crystal ovals are stacked along the stem, each cut to a different depth so the column narrows and widens as it rises. A lamp for a console or an entrance,...

A roller pen turned from black resin with a chrome cap band — deeper and warmer in colour than lacquer, and it does not show fingerprints the way a polished barrel does. Everyday writing rather than display. Presented in its original Ottaviani case with...

White peonies opened across a gold-leaf ground, the flowers built up thickly in white and cream while the gold is left flat behind them. Supplied in a slim gold frame — the only framed work in the collection, and the most formal of them....

The Tree of Love — a hand-painted canvas in which a single tree opens into a crown of red blossom, worked in thick, raised strokes that catch the light from across the room. At 120 × 60 cm it is built for a wall...

A small rectangular vase, 10.5 × 7.5 × 15.5 cm, its faces cut into large flat panels rather than fine facets — a quieter treatment that suits a single stem or a short arrangement. Sized for a bedside table or a bathroom counter. Made...

A square-sectioned vase, 31 cm tall on a 14.5 × 14.5 cm base, cut all over in raised pyramids that run to the rim. Heavy in the base, which matters — it will hold a tall arrangement without being pulled over. Also works empty,...

The Tree of Life in oil: a single trunk opening into a wide canopy of white and silver blossom against a warm neutral ground. The paint is laid thickly enough that the blossom sits proud of the canvas and takes its own shadow. At...

A pair of stepped crystal bookends, 25 × 11.5 × 20.5 cm, cut in clean rectangular planes with no ornament at all. Substantial enough for a full shelf of hardbacks, and clear enough that they disappear between the books rather than competing with them....

A pair of crystal bookends, each an L-shaped block with a cut lotus flower set at the front corner. The weight is in the base plate, which slides under the books and takes their load — the visible block is not what does the...

A plain black ballpoint with a steel section and a broad polished band at the centre. There is nothing decorative on it, which is exactly why it works as a corporate gift — it carries an engraving better than a patterned barrel would. Presented...

A ballpoint sleeved in red carbon fibre under clear lacquer, the weave running diagonally so the colour shifts between crimson and near-black as the pen turns. Silver fittings at both ends. Presented in its original Ottaviani case with the brand's international warranty. Specifications Dimensions:...

The Tree of Happiness: the companion to the red Tree of Love, worked in blues and turquoise over a grey ground with the same raised blossom. Bought as a pair they read as one work in two panels; alone, this is the cooler and...

Il Fiore dei Fiori — the flower of flowers — a single white bloom opened across the whole canvas, its petals built up in thick white paint and edged with gold leaf against a soft grey and ochre ground. 80 × 80 cm, square....

An open landscape under a full sky — a barn, a silo, a line of fields — painted in oil and finished with a gloss varnish that deepens the blues. The sky takes two-thirds of the canvas, which is what gives a 100 ×...

A ballpoint in gunmetal grey, the barrel worked in a fine overlapping scale that runs its length. Darker than chrome and less formal than black — the one to pick when a plain pen looks too plain. Presented in its original Ottaviani case with...

A chrome ballpoint knurled in a fine diamond pattern along the whole barrel. The texture is functional first — it holds in the hand — and the light it breaks up is a consequence rather than the intent. Presented in its original Ottaviani case...