Early 20th Century Gallant Scene with Citadel White and Green Marble Sculpture

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...

Dante and Beatrice Alabaster, 33 x 20 x 36 cm Early 20th century The present alabaster relief, of which great technical skill is evident, imitates the pages of a book, On the two...

Tommaso Campajola (Active in Naples between the 19th and 20th centuries) Child with hat Bronze, height 23 cm Signed and dated 1932 on the back.

18th century Immaculate Conception and saints Marble, 60 x 50 x 9 cm In the center of the marble oval we find an Immaculate Conception accompanied by St. Vincent Ferrer (identifiable thanks to the presence of the wings and the Dominican dress), and by two saints of difficult identification, one of them with a monastic habit. The theme of the Immaculate Conception began to appear in artistic works ever since the debate began, which saw the Franciscans and the ramifications of the Benedictine Order lined up on one side, linked to the thought of Anselmo d'Aosta and Bonaventura da Bagnoregio, and on the other the Dominicans, linked to the discussion offered by Thomas Aquinas...

XVII Century Lion Marble, 30 x 43 x 25 The object under consideration is configured as a marble sculpture referable to the 17th century, characterized by a strong, visceral langua...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...

Anatomical Sculpture in White Carrara Marble early 20th century. Sculpture in white Carrara marble representing a human bust whose half is skeleton, the other half is flayed. Placed ...

This is a 20th century Marble Sculpture. It depicts a black marble abstract sculpture supported by a rectangular wood base. It was made by a Puerto Rican sculptor named G.Nunez.

Early 20th Century WHITE MARBLE STOUP Italy amazing condition hand made HEIGHT 15cm WIDTH 52cm DEPTH 50cm.

Beautiful white terracotta sculpture depicting an oriental goddess. Extremely refined drapery, garments and headgear, Tuscany, early 20th century. - The hand of the sculpture needs ...

Showcase a piece of dynamic artistry in your space with this early 20th-century bronze sculpture. This striking figure captures a moment of intense action, depicting a muscular male ...

Abstract sculpture carved with three different faces is perfect for a center table location or garden.