166 results for "commedia dell’arte"

This etching is part of Balli di Sfessania, Jacques Callot’s celebrated series depicting grotesque dancers inspired by the Neapolitan commedia dell’arte tradition. The figures Capita...

Victorian Sterling Silver Jester & Ouroboros Snake Sugar Tongs, Birmingham 1887, by Joseph Willmore An extraordinary example of Victorian novelty silver, this figural pair of sterling sugar tongs...

An Italian Art Deco Figural Alabaster Table Lamp of Pierrot and Colombina Inspired by the famous Commedia dell'arte, the hand-carved alabaster lamp modelled as a street lamp with la...

When fuchsia Burmese rubies were among the most expensive gems in the 1930s, Elsa Schiaparelli began to embrace the "shocking pink" color while designing French-couture clothing and ...

Four-leaf screen in an empire green lacquered wood frame. The main face is richly decorated in gilded bronze with Commedia dell'Arte masks, foliage, garland...

Jules Chéret’s poster advertising the Théâtre Optique (Optical Theatre) immortalized a momentous convergence of technology, culture, history, and art with the 1892 debut of Emile Reynaud’s praxinoscope at the Musée Grévin in Paris. Reynaud presented his Pantomimes Lumineuses, the world’s first animated films, using his innovative system which projected light through moving pictures to offer illuminated pantomimes. Among the three short films Reynaud screened through his praxinoscope was Pauvre Pierrot (Poor Pierrot), a story of Pierrot courting Columbine based on the timeless archetypal love triangle featured in many Commedia dell’arte pantomimes. As a member of the Cercle Funambulesque (roughly “Friends of the Tightrope-walkers”), a French society which championed the contemporary creation of Commedia dell-arte-inspired pantomimes, Jules Chéret was often inspired by Pierrot and produced a large number of works depicting him, often with his beloved Columbine. Cheret’s involvement with the Cercle, combined with the immense popularity of these archetypes in the late 19th century, meant that they appeared frequently in his works. This work comes from the extremely scarce edition of 25 strikes on Imperial Japon paper, a mulberry bark-based stock inspired by the smooth-surfaced papers used in Japanese printmaking. This world-class example of lithography captures superior resolution and color-richness to that of its large-format counterpart. The use of marbled Imperial Japon paper allows inks to rest upon its surface rather than being absorbed by a more porous paper stock. An extremely scarce fraction of the edition of 25 are estimated to have survived to date. Stone lithograph of Jules Chéret’s Musée Grévin...

A large mask by Agostino Dessi depicting Michaeangelo's David, papier-mâché, signed to the reverse. Agostino Dessì (b. 1952) is a renowned Italian mask maker from Sardinia, celebrat...

Beautiful Ritagli Vase designed by Fulvio Bianconi and produced by Venini in 1994. “This work by Fulvio Bianconi stems from the most innovative glassmaking technique in the 1900s:...

Vintage porcelain figurine "Pierrot with Guitar" by Spanish company Porcelain Valencia (Villamarchante, Valencia), 1980s. This charming figurine dep...

This poster, titled Detail from Pulcinella with Applause, was designed and created by David Hockney for the Young Playwrights Festival held in New York in 1982. Sponsored by the Dram...

This charming drawing is a preliminary study for the larger drawing, Trois etudes de femme assise, coiffee d'une fontange, in the British Museum. This little gem comes from Brooke A...

Large Fazzoletto Zanfirico Vase by Fulvio Bianconi for Venini, Venice Murano A very large Fazzoletto (handkerchief) vase in transparent glass with turned white rod decorations calle...

‘The Golden Egg’ by Richard Morton Paye F.S.A. (1750-1820). Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitutio...

Schiaparelli's Mint in Box, "Sleeping" perfume sachets of "Sleeping Blue" satin, over stitched with Schiaparelli's signature "S". Still fragrant wrapped in the original unopened cellophane, tied with vibrant yellow ribbon. "Sleeping," is one of many perfumes Schiaparelli designed, debuted for her summer 1940 collection. For her spring 1939 Commedia dell' arte collection, Schiaparelli had been inspired by Man Ray's 1939 painting...

Featuring 125 seminal cookbooks from the last 100 years, Cookbook Book is a celebration of the world's most beautiful, influential and informative cookbooks. From the tried-and-tr...

A bronze Statuette of Arlequin by Charles-René de Paul de Saint-Marceaux Cast by Barbedienne. The mischievous Harlequin, arms crossed in contemplation, wearing a grin and a mask, tr...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Harlequin and Boy, from the folio Picasso, Fifteen Drawings, 1946, originates from the 1946 edition published by Pantheon Books, Inc., New York, and rendered and printed by Albert Carman, City Island...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

This is an incredible piece of craftsmanship! I was just 10 years old when my father, who worked in Milan where I grew up, bought this bowl in Venice together with a huge Fazzoletto...

Pablo Picasso (1881–1973) was one of the most transformative figures of 20th-century art. A restless innovator, his work reshaped the possibilities of representation across painting,...

1960s table lamp Pierrot figurine in Porcelain Ceramics by Nove di Bassano Origins of Pierrot Pierrot is a mask born in Italy in the late sixteenth century The name Pierrot is a...

Sculpture inspired to the "Commedia dell'Arte" in Grey and Crystal Murano glass, Italy in stock Dimensions: L 12 cm x H 38 cm x D 12 cm ( L 4.7" x H 14.9" x D 4.7") We recently cam...

Royal House Antiques Royal House Antiques is delighted to offer for sale this old faded and frayed Antique Circa 1880 Tapestry depicting Watteau-Esque figures after Antoine Watteau ...

A Meissen Tureen and Stand, c1745 Additional information: Date : c1745 Marks : Meissen crossed swords Origin : Meissen, Saxony Colour : Polyc...

Arlecchino (Harlequin), the youngest characters of the Commedia dell'Arte is up to his usual tricks in this c1920 advertisement commissioned by the Societa Italiana Vini Superiori (I...

Kenne Grégoire (b. 1951, Teteringen, Netherlands) is a Dutch painter renowned for his masterful blending of realism and surrealism. Educated at the Rijk...

This beautiful and colourful poster is from 1957 advertising the Loterie Nationale or French National Lottery. Reading "Columbine Se Croit Fine", the poster depicts characters from t...

This is a superb antique French gilt bronze mantel clock with Bleu Celeste porcelain panels in the Sevres manner, circa 1860 in date. The case crowned with two cherubs holding laurels one holding a mask emblematic of theatre, flanking an oval Bleu Celeste porcelain panel of the playwright Molière . The base decorated with ormolu flowers is raised on turned feet and inset with Sevres plaques decorated with cherubs. The circular dial has Roman and Arabic numerals and the clock has an 8 day striking movement complete with count wheel strike and bell, stamped with Miroy Freres...

This 1893, Pleyel grand piano sits on ornately carved french walnut frame, carved with foliage and flowers. The piano has six carved, cabriole legs ...

Art Deco Porcelain Figurine c. 1920, Bajazzo, Rosenthal, by Himmelstoss This is an Art Deco porcelain figurine, Bajazzo model, by Rosenthal, designed by Himmelstoss around 1920. The ...

Gino Serverini exprints Commedia dell'arte 64 x 46 cm about 1962 signature dans la planche 190 euros

Handkerchief vase by Fulvio Biancon x Venini. Produced in good condition with small signs of wear caused by age and use. Having settled in Milan, Fulvio Bianconi collaborated through...

Mid-Century Modern vintage gold and white three ( 3 ) sconces or wall lights from metal with gilded details and solid brass masks, Italy 1940s. The rare and beautiful hand made scon...

An inkwell and pen holder, made of painted ceramic, depicting the character of Pierrot from the Commedia dell'Arte. Austria circa 1930.

An exceptional, fine and impressive antique George III English cast sterling silver taperstick made by William Cafe; an addition of AC Silver's ornamental si...

This exceptional over-mantle mirror has a prestigious provenance, having been in the collection of a renowned English aristocratic family. The work is surmounted by a spread eagle be...

A Pezzato Americano bowl in yellow, green, straw and black colored glass designed by Fulvio Bianconi in 1950. Manufactured by Venini, Venice ca. 1950s. With acid etched signature "Ve...

Impressive Louis XV period cartel clock by Nicolas De Launay, first half of the 18th century. The case, with rocaille motifs of leaves and flowers, in mercury-gilt bronze, is decorat...

Gino Severini was born April 7, 1883, in Cortona, Italy. He studied at the Scuola Tecnica in Cortona before moving to Rome in 1899. There he attended art classes at the Villa Medici ...

A Pair of 18th Century Meissen Figures "Children Dancing", modelled in the commedia dell'arte style as a young girl and boy dancing. Raised over simple rococo bases with applied flow...

French Art Deco Sculpture “Pierrot,” France, 1920s Spelter Onyx Figure This charming French Art Deco sculpture, titled “Pierrot,” dates from the 1920s and beautifully embodies the elegance and style of French Art Deco. Crafted from spelter with an onyx base, the piece captures the playful yet melancholic spirit of the iconic Commedia dell'arte character. With clean lines and a graceful silhouette, this sculpture is a striking and timeless addition to any art collection or decorative display. Its refined craftsmanship highlights the artistic innovation of early 20th-century French design. Dimensions: Height: 11.2" (28.5 cm) Width: 8.7" (22 cm) Depth: 4.5" (11.5 cm) In very good condition, this “Pierrot” sculpture...

From the Creil region of Northern France, a transfer printed polychrome plate, titled – Le Polichinel. Circa 1830. Pulcinella is a classical charact...

Portrait of a young boy, full-length in a blue velvet coat and breeches, standing on a stone terrace in a garden landscape, playing with a spinning top. Signed and dated ' Phil. Merc...

Rare pair of sculpture vases by Marcello Fantoni, 1960s. In glazed ceramic with polychrome enamels, completely hand-made. Depicting the two figures from the commedia dell'arte Harle...

To see our other original vintage travel posters including more London Transport posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or...

Image dimensions: 13 x 8 cm. Colombine is an original etching realized during the XIX century by an anonymous artist. The artwork is printed by Delatre, Paris (as reported on the l...

Pair of french Art Déco hand-painted and glazed ceramic Pierrot sculptures/perfume lamps designed by Aladin for ROBJ By: ROBJ, Aladin Material: cera...

Dipinto Fiammingo del 1600 a olio su rame raffigurante uno scorcio di paesaggio con figure, una scena di genere con una moltitudine di personaggi affollati in una strada con delle ar...

Signed lower right, 'Haefner' for Janice Haefner (American, 1919-2002) and painted circa 1960; additionally signed, verso, and with artist address. This life-time member of the Pac...

“Historically, travelling theatres such as the Commedia dell’Arte or that of Mo- liere’s company performed in public squares, on a “stage” made of floorboards set on trestles, known in Italy as Piccolo Teatro, or small theatre. Thus, Teatro trestle is the archetype for the adjustable trestles used with drawing boards...

Louis XVI style ‘Secrétaire à abattant’ with marquetry after Roentgen. Oak, thuya burl and ebonized pearwood veneer, wood marquetry, gilt bronze, green ‘Campan’ marble. France. ca. 1...

A Louis XV Style Gilt-Bronze Mounted Mahogany Console Table, With Marble Top, By François Linke, Paris. Surmounted by a serpentine-shaped Brèche de Saint-Maximin marble top. The fri...

"Tania" by Olga Suvorova is an Oil on Canvas painting measuring 42.5x31.5 in. and is a prime colorful example of Russian figurative realism at its finest...

Argy Rousseau's exquisite Farniente vase, a "pillow vase" with a flared mouth, showcases a refined blend of historical and artistic influences. The vase features a checkered lozenge ...

A matching pair of 19th century Italian faience covered vases of flattened baluster form, hand-painted with figures from the Commedia dell'arte. The main body of each piece features ...

Thomas Cartier (French 1879-1943). "Tango Erotica" bronze sculpture. Art Deco. Rare French silver plated bronze art deco dancer group with a Pierrot and Columbine. This sculpture, ...

This exquisite lithograph by Georges Rouault (1871–1958), titled Arlequin (Harlequin), from the album Georges Rouault, Divertissement, originates from the 1943 edition published by E...

A Rare 18th-Century Meissen Porcelain Horse-Drawn Sleigh Group Featuring the Court Jesters Joseph Fröhlich and Gottfried Schmiedel, After a Model by Johann Joachim Kändler. This finely modeled and painted Meissen porcelain group, created circa 1750, captures a dynamic and theatrical sleigh ride featuring the court jesters Fröhlich and Schmiedel. The composition is anchored by a galloping white horse adorned with a blue cloth draped over its back, trimmed with gilt tassels. The harness, with delicate chains, connects the horse to an elaborately detailed sleigh with scrolling gilt accents and openwork elements. The sleigh glides over a textured, snow-covered base, sculpted to mimic the uneven terrain. At the center of this lively scene, Fröhlich, dressed in vibrant carnival attire with a green hat and yellow cape, stands on the runners of the sleigh, leaning forward to embrace and steal a kiss from Countess Friesen. However, the "Countess" is, in fact, Schmiedel in disguise, adding to the humor of the piece. Schmiedel wears a floral-patterned gown with intricate hand-painted blooms in shades of purple, yellow, and red, complemented by a white apron and a red bonnet. The finely painted facial features capture the moment's theatricality, as Schmiedel grips the reins while seemingly playing along with the jest. In front of them, a small monkey with wings sits perched at the sleigh’s edge, holding a dish with two burning hearts, reinforcing the amorous and playful nature of the composition. The back of the base bears the Meissen underglaze blue crossed swords mark, confirming its origin at the renowned German porcelain manufacturer. The model was first created by Johann Joachim Kändler in 1741, during his tenure as Meissen’s chief modeler. Kändler’s ability to animate porcelain figures with expressive gestures and dynamic movement is evident in this work, reflecting the theatrical influences of the period. Meissen, established in the early 1700s under the patronage of Augustus the Strong, Elector of Saxony, was the first European porcelain manufacturer to successfully produce hard-paste porcelain. The factory became synonymous with innovation, refinement, and technical excellence, with Kändler playing a key role in developing its sculptural traditions. Meissen’s 18th...

Women torso art glass vase by Fulvio Bianconi for Venini. This is a very rare tall art glass vase created in Murano at the Venini glass company by Fulvio Bianconi. The art-glass vas...

A Monumental Meissen Porcelain Figural Group of Apollo and the Nine Muses on Mount Parnassus. Comprised of sixteen interlocking parts. Apollo standing holding a lyre and with Pegasus besides a tree, atop a rocky outcrop detailed with foliage and waterfalls above nine goddesses: Calliope, seated and shown writing, representing eloquence and epic poetry. Clio, seated with an open book and blowing a trumpet, representing history. Erato, seated and holding a kithara, representing science and the arts Euterpe, seated and holding a flute, representing music. Melpomene, seated holding a knife and with one hand to her head, representing tragedy. Thalia, seated and holding aloft mask, representing comedy and idyllic poetry. Urania, seated with telescope and globe, representing astronomy and astrology, Polyhymnia, standing with one hand raised and holding a book, representing sacred poetry. Terpsichore, standing, representing dance. Each piece exceptionally finely detailed and painted. The base portions with rocaille edges. On a later black polished wooden base. Multiple blue crossed swords marks. Each piece titled to underside. German, Circa 1880. Mount Parnassus, is a spur of the Pindus Mountains in central Greece and was sacred to the ancient Greeks and in mythology to Apollo, the god of music and poetry and of the Sun and light. Mount Parnassus the mythical centre of poetry, music, and learning in ancient Greece was a popular theme in Barqoue and Rococo art, often substitutable with Athena’s arrival at Mount Helicon from the fifth book of Ovid’s “Metamorphoses”, where she asks the Muses to show her the new spring which gushed forth from the spot where Pegasus “with his hoof of horn opened the earth” (V, 250-260). Here, the mountain, formed from rugged rock cliffs, culminates in a plateau on which the youthful Apollo stands and plays the lyre. The Castalian spring flows from beneath Pegasus’ hoof, representing the source of inspiration and attracting the nine muses, who embody the arts and inspire creation through song, music, and dance. Mount Parnassus was created at the Meissen porcelain manufactory as a table centrepiece and an earlier version, apparently with only five muses, is listed in the inventory of the pastry shop of the Meissen manufactory manager and cabinet minister Heinrich Graf Brühl in 1753. The storage in the pastry shop of approximately 3,000 objects and dishes, including many individual parts for centrepieces, is related to their function as table decorations, replacing decorations previously made by the confectioner from perishable materials such as sugar or wax. The purpose of this table decoration was as a feast for the eyes to accompany the feast of the banquet. The sculptural figurines often depicted a particular theme, with characters drawn from theatre and opera, from classical mythology or pastoral idylls. Allegories and mythological themes, such as the glorification of fine arts, were also popular. Stylistically, Mount Parnassus fits Kändler’s style of the 1740s, and was sold by Brühl in 1762 to Frederick the Great of Prussia who used mythology as a means of self-expression and had already ordered individual figures of Apollo and the Muses as table decorations in 1744. Today it is in the Museum of Applied Arts, Frankfurt (inv. no. M.L. 41). There is another version of Mount Parnassus, from the collection of Prince Alexander Dolgorukoff, in the Hermitage in Saint Petersburg. The present version dates to the second half of the nineteenth century when there was a great revival of Kändler rococo figurines which were reissued and a “Second Rococo”. Another nineteenth century example is in the collection of the Museo Francesco Borgogna, Italy (inv. 1906, XIII, 19-20). These nineteenth century versions were made by the Meissen factory using Kändler's period models. It is recorded that a new version of Mount Parnassus, dating to the 1880s, was part of the Royal Porcelain collection in Dresden: 'In the porcelain collection there is a new version from the 1880s based on the old models, the largest group of this genre, the Parnassus, which shows the named muses all around on the lower part of the rock, each practising their own art, while on the top there is Apollo with the lyre and next to it the Castalian spring rises from the hoofbeat of Pegasus. Each figure is executed individually with its rocky background, and all the pieces are then fitted together, as we have already seen in his earlier, larger compositions. The rock pieces are finished off like a pedestal at the bottom with Rococo ornaments.' (Jean Louis Sponsel, Kabinettstücke der Meissner Porzellan-manufaktur von Johann Joachim Kändler, Leipzig, 1900, pp. 203-204). Kunst und kunsthandwerk; monatsschrift herausgegeben vom Österreichischen museum fuer kunst und industrie, Vienna, 1894, v.7 pt.1, p.133. Kari Berling, Das Meißner Porzellan und seine Geschichte. Leipzig 1900, S. 99, 187-200. Helmuth Gröger, Johann Joachim Kaendler. Dresden, 1956. Peter W Meister, Franz Adrian Dreier, Figürliche Keramik aus zwei Jahrtausenden. Kat Museum für Kunsthandwerk, Frankfurt. Frankfurt 1964, Nr. 90. Rainer Rückert, Meißener Porzellan, 1710-1810. Kat. Ausst. Bayerisches Nationalmuseum München. München 1966. Stefan Bursche, Tafelzier des Barock. München 1974, Abb. 300. "Tafelaufsatz, Der Parnass", Auswahlkatalog, Museum für Kunsthandwerk (Frankfurt am Main, Germany), 1987, pp. 86-87. Alfred Ziffer, ‘Meissener Porzellanplastik für fürstliches Interieur und Zeremoniell’, Keramos, Issue 241/242, pp. 29–52. MEISSEN The production of Meissen porcelain began in 1710 at the manufactory at Meissen...