879 results for "antiquity"

A striking and high quality pair of French 19th century Empire style cornucopia vases. Each vase features a gracefully fluted cut crystal horn rising from a finely chased ormolu moun...

Hallmarked in London in 1880, this large sterling silver vase was made by S. Smith & Son. Designed in the Etruscan Revival taste, the vase features high-relief repoussé decoration wi...

Cylindrical vase, colourless glass with flaky white, yellow-green and burgundy powder inclusions, yellow-orange, green and deep blue enamel melts, highly etched decoration with wild ...

French Art Deco Daum Nancy vase. Overlaid and etched glass. Etched signature to the side: Daum Nancy France.

Baluster-shaped single vase with bulbous lower section on a standing ring with a long, slender, curved neck, colourless glass with flaky white, yellow and light blue, in the standing...

This ceramic sculpture presents an abstract human head formation, made by Roy Terbeek in 1994 in the Netherlands. The piece features a modeling of facial features. There is a sense o...

Vase #1087; designed 1933; clear and frosted vase; stencilled R. Lalique France.

This striking ceramic vessel draws the eye with its rich, glossy black glaze and the unexpected presence of a sculpted lizard that clings playfully to its surface. The reptile’s gold...

Cylindrical vase, colourless glass with flaky yellow-orange, with brown powder inclusions in the lower section, highly etched exterior and delicately painted with coloured enamel, co...

A French silvered-bronze athénienne by Ferdinand Barbedienne, Paris, last quarter 19th century with a revolving liner, the frieze applied with bucrania suspending ribbon-tied berried laurel swags above a border of bellflowers on a stippled ground above three seated female sphinxes issuing stylised foliage and scrolls on lion monopodia cast with the mask of Hercules, scrolling foliage and anthemions joined by stretchers, raised on a concave-sided triform marble base on a further thin silvered-bronze base, inscribed to the tripod base 'F. BARBEDIENNE' Measures: 103.3cm. high, 41.5cm. diameter; 3ft. 4 3/8 in, 1ft. 4 1/4. This impressive athénienne is a key reminder of the longevity of a particular model and design’s success from Antiquity through to the 19th century and up until this day. Typically known as the ‘Trépied du Temple d’Isis’, this athénienne is designed after the Roman antique originally found at Pompeii and now at the Museo Archeologico Nazionale, Naples (fig.1). From being for example an inspiration for the baptismal font of Napoléon’s son in 1811, this model was the inspiration to many highly skilled makers throughout the 19thcentury such as the Manfredini brothers from Milan and of course the Parisian well-established bronze founder Ferdinand Barbedienne who executed the present example. The Temple of Isis was a Roman temple dedicated to the Egyptian goddess Isis and was among one of the first discoveries during the excavation of Pompeii in 1764. Certainly considered as one of the most elegant examples of antique tripods, the existence of this model was then popularized to the rest of Europe via prints, one of the first being by Giovanni Battista Piranesi in 1779. This type of tripod was also popularised by an engraving in C. Percier and P. Fontaine’s, Receuil de Décorations Intérieures of 1801. Interestingly, there is also a watercolour now in the Musée Carnavalet, Paris, showing this type of tripod displayed at the 1801 Exposition des Produits de L’Industrie in the Louvre. The passion for Greek and Roman Art in the 19th century. The discovery of Pompeii and Herculaneum around the middle of the 18th century gave rise to a new passion for Antiquity and the excavated masterpieces renewed the repertoire of fine and decorative arts and served as models for Neoclassicism. Members of the aristocracy as well as connoisseurs, particularly in England, completed their education by undertaking a ‘Grand Tour’ of Italy and often fell victim to the recently unearthed Greek and Roman artefacts...

One of a set of beautiful ceramics from Ciboure Pottery, this vase is inspired by antiquity—evident in its form, its spare coloring, and its stylized depiction of animals.

Vase with a round base formed by constriction in the lower section, the wall widened above and flattened on four sides, with a slightly indented, wavy rim, colourless glass with colo...

Louis XVI style mantel clock made of bronze fire gilded figures, white marble inlays and parts.

This striking mantel clock is a fine example of the Empire style, a period characterized by its grandeur and inspiration from classical antiquity. The clock showcases a masterful com...

Italian antique Rectangular container boxes in dark wood, 1900s Set of 3 rectangular container boxes in dark wood. Lids present. On the front they have...

French Art Deco vase double overlaid and etched glass and silver vase. Engraved signature to underside: Daum Nancy.

A spirited example of the popular Athenian export, the owl skyphos. This small cup depicts an owl on either side facing right, its head turned frontally, between two sprigs of laurel...

A Pair of 19th Century Italian Hand-Carved and Hand-Polished Carrara Marble Models of Children Reading and Writing, Signed A. Piazza, After Antonio Canova. Antonio Canova (1757–1822...

This striking mantel clock is a fine example of the Empire style, a period characterized by its grandeur and inspiration from classical antiquity. The clock showcases a masterful com...

17th century, pair of ink drawings on paper with studies for grotesques, friezes and helmets. Painter of central Italy of the 17th century, signed with monogram “A.M.”. Measurements: cm L 45.5 x H 59.5 x 5.5; cm 22 x 33 / cm L 46.5 x H 59 x 5.5; cm 22.5 x 31.5 The pair of sheets, in good condition, is framed by antique frames in carved and gilded wood. They show some china studies with some studies for different subjects. Specifically, the first sheet represents the design of a frieze of Renaissance taste under which are some studies probably referring to a family coat of arms. Below the center is a monogram “A.M.”. The sheet is also worked on the back in which are drawn some articulated elements of decoration in the style of the Renaissance grotesque...

This grand pair of bronze d’oré candelabra features floriate candle cups, leaf bobeches, and arms in the classic Rococo style. The French antique pair dates back to the 19th century ...

GRAND TOUR Italy, mid-19th century Bust of the goddess Diana Cast by Del Nero Foundry, Rome, crisp inscription to base of neck verso DEL NERO ROMA Patinated bronze raised on a mottled pink marble...

Large baluster vase on a flush stand, base set off by polished fillets, wall slightly curved upwards and widening towards the opening, colorless glass with flaky white and yellowish ...

Study of a Satyr Bronze, cast using the lost-wax (cire perdue) method Italy, early 19th century 14 x 7 x 10 cm This evocative bronze sculpture represents a satyr, the half-human, h...

Decorative midcentury ceramic vase / pitcher by Accolay (circa 1960s). A classically shaped piece from antiquity is reinterpreted in Accolay's unmistakable style. The pitcher has sof...

Pretty alabaster sculpture of a young man removing a thorn from his foot. Theme taken up many times in the sculpture, the oldest known example of the boy with thorn...

Pair of Pompeian Deer from Herculaneum by Chiurazzi Pair of young deer after Antiquity. Patinated bronze. Early 20th century. This pair of young deer is a reproduction of the same d...

A significant pair of antique French Empire style gilt bronze and green marble military urns. Each urn in this magnificent and unique pair showcases a tall, baluster-shaped body craf...

Sculpture in bronze with a medallion patina called "Muse des bois" (Muses from the woods) after Henri-Louis Levasseur. It represents a young woman dresse...

Excellent, large tubular vase: in the lower area bulbous body on a separate stand, after constriction the neck is raised, slightly narrowing with a flared mouth edge, mould-blown, co...

One of a set of beautiful ceramics from Ciboure Pottery, this piece is inspired by antiquity—evident in its form, its spare coloring, and its stylized depiction of nature. Signed on ...

Cylindrical vase, colourless glass with flaky white and delicate red inclusions, yellowish and green powder inclusions in the lower section, highly etched exterior and delicately pai...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

This 19th-century clock is an exquisite work of art, perfectly reflecting the refined and elegant style of the Napoleon III period. Here is a detailed description of this masterpiece...

This box is an unusually large and decorative example of the work of this factory. Both highly ornamental and functional, it is ideal for dressing table or more formal settings. The ...

This gorgeous pair of 19th century Japanese Imari vases are beautifully hand-painted in the classic Imari colors of blue, terra cotta, gold and white. The pair features a Foo dog han...

Elegant classical Greek-style marble sculpture dating from the early 20th century, depicting a toga-clad figure inspired by ancient statuary. Finely carved with attention to proporti...

A Large & Impressive 'Sèvres' Style Porcelain Vase Standing at three feet tall, the baluster-shaped porcelain vase raised on an ormolu octagonal base with pearl band, and an ormo...

Renaissance Marble Portrait Northern Italy, 17th century, inspired by antiquity Marble 36 x 13 cm (including the marble pedestal) This Renaissance portrait head of a young man, sl...

This elegant pair of French Mid-19th Century Greek Revival bronze tazze showcases intricate Neoclassical-style craftsmanship, with shallow bowls adorned in detailed Bacchanalian reli...

Unique and elegant carved wooden box candle holder, covered in leather and original red fabric. The rectangular box, with a rounded lid, features refined decoration. It features flor...

Delving into the elemental marks of Egyptian hieroglyphics, these vases use original characters to adorn an object inspired by vessels of antiquity. Formed of natural clay and glaz...

Fashioned of rare and precious griotte rouge marble and gilt bronze, these vases embody neoclassical elegance at its finest. Borrowing its forms a...

Mid-century ceramic vide poche with a woman face by Jaque Sagan, Vallauris, 1960 This colourful piece has a slightly grainy feel and is glazed in bright green and pink. The face o...

PMA–2 Centrotavola cm. 27,5H x 28Ø Marrone lucido At once a fruit bowl and a vase, this piece features floral handles that pay tribute to some of the works preserved in the Bitossi ...

Pyrogen Young Egyptian bronze egyptomania period late 19th century young girl from Antiquity making a decoration offering to yesterday in the glyph no sig...

Royal Rouge Griotte Marble Athenienne After Pierre Gouthière Late 19th Century This monumental pair of Napoleon III gilt bronze-mounted Royal Rouge Griotte athenienne perfume vases ...

Fleurdetroit offers for your consideration, a beautiful rampant lion made of sandstone is a perfect sentry to look over your home or garden. Darkened with age and weathered, this lio...

A beautifully patinated 19th century European stone statue depicting the Farnese Hercules, which is an ancient statue of Hercules made by Glykon in the early third century AD - one o...

A Bronze Model of a Bull After the Antique The cast bronze animal with a patinated finish, standing on an ormolu-mounted griotte rouge marble plinth supported on gilt bronze bun fee...

Vintage ceramic flower vase by renowned ceramicist, Jean Mayodon (circa 1960s). Deer float on the round in high relief over a field of gre...

Pair of planters made by Marc Du Plantier (1901 -1974). The design has an Egyptian inspiration, the pots are made of terracotta and the base is bronze with...

AFTER A MODEL BY GIAMBOLOGNA (1529–1608)
 Pacing Bull
17th century
 Bronze, on an ebonised wood base H totale 15 x L 11,5 x P 8,2 cm Since antiquity, the bull has been venerated as ...

A superb 19th century French Flame Mahogany Napoleon Empire Period Egyptian style Mantel Clock This clock was produced in the Fr...

Grand Tour 19th Century Mercury Bronze on Marble and Bronze Base. Capture the spirit of classical antiquity with this exquisite 19th Century Grand Tour bronze sculpture of Mercury ...

A wonderful Chinese red clay pottery tomb figure from the Tang Dynasty (618 to 907). Guarding a dignitary or decorated soldier; these figures stood guard for over a thousand years surviving to decorate your home collection of ancient artistic and cultural artifacts. Original Polychromed red and gray paint pigments still present. Chinese Buddhist guardian statues made of earthenware and pigments, from the Tang Dynasty (618–907 AD), dated to the late 7th to first half of the 9th century. The foreign facial features of this brilliantly sculpted guardian figure is evidence of the strong Western presence in Tang-dynasty China. Originating in the Lokapala deity of the Buddhist religion, which came to China from the West, this type of armored tomb guardian...

Large baluster-shaped vase with a large, round base, conically narrowing to a tubular vase body with a wide beaded ring just below the narrow opening with...

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

This imposing and impressive head of a man would once have been part of a monumental votive statue dedicated in a temple in antiquity. Commissioned by a wealthy patron, it is an icon...

A Grand Tour Bronze Reduction of the Albani Vase Finely Crafted version of the famous classical Marble urn found in the Villa Albani, Rome. The original with intricate bas relief sce...