Unknown

Pair of Exceptional Italian Sphinx Limestone Statues

2022

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recumbent lion on a rectangular stone ...

Designed as entrance guardians, this pair of mythical lady sphinx statuary display the head and chest of a neoclassical woman and the body of a recu...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculpt...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculptures in the world. Three intertwined bodies, two men and a woman, spiral upwards as the woman tries to escape the clutches of the younger man standing over the older one. It is an absolute masterpiece by the Flemish sculptor Giambologna. After the original in Florence’s Loggia dei Lanzi, Piazza della Signoria...

One flame candle holder putto made of gilded wood. Those kind of objects were present in churches or noble villas, specially during the Baroque times. The base is not coeval.

A late 17th c. Italian carved figure of Mermaid, Circle of Filippo Parodi (Genoa, 1630 – July 22, 1702) Dimensions: h. 29.13 in, w. 30.31 in, p. 18.9 in (at the base) Magnificent Italian Baroque sculpture depicting a mermaid seated on the rock. All the virtuosity of the sculptor unfolds in this carved group. The fantastic creature is featured seated, the upper part of the body darting forward, the head looking upwards. Sophisticated hairstyle with rows of pearls intertwined in her hair, her loose locks fly in the wind and bring movement to the whole sculpture. The wide-open eyes with hollowed-out pupils make it possible to follow the mermaid's gaze, towards the sky. The half-open mouth further magnifies this bewitching and seductive attitude. Its long double tail ending in fins wraps on either side of a rocky mound strewn with objects evoking the underwater world: seashells and shells, branches of coral. The ornamental richness combined with the great care taken in its execution make it a work in which the splendor of Italian Baroque art unfolds in such characteristic scenic movement. The composition betrays a strong influence from Filippo Parodi, the leader of Genoese Baroque sculpture, and points to an artist from his circle. Our sculpture was probably part of a decorative monumental palace. The iconographic theme evoking the marine world finds its application in the numerous fountains and artificial grottos, designed in Italian palaces at the turn of the 17th and 18th centuries. Giacomo Filippo Parodi (Genoa 1630 – July 22, 1702) was an Italian Baroque sculptor of the Genoese school, who introduced Bernini's aesthetic to Genoa. In his youth fathers a first apprenticeship with a carpenter, he went to Rome where he became a pupil of Bernini. He had the opportunity to admire in person the works and style of the French sculptor Pierre Puget...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - A very Fine and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble genre scenes and allegorical figures as well as copies of antique and Renaissance sculpture catered to a prominent international clientele which included European and Russian aristocracy, and the Industrial fortunes being made in England and Americas drove considerable export demand. In 1861 the studio was awarded the medal for 'Ercole con cinghiale sulla spalla' (Hercules with boar on shoulder), 'Due Cani' (Two dogs) and 'Cinghiale' (Boar) sculptures at the National Exposition in Florence. In 1874 he exhibits his works in London and in 1876 in Philadelphia. Bazzanti frequently returned to the subject of 'After the Bath' or 'The Bather' in his works, having carved examples of the bathing Venus after the Antique and in dynamic and dramatic compositions such as the present sculpture. The finely-detailed work relates closely to popular figures produced by Bazzanti’s contemporary, Cesar Lapini, whose La Sopresa depicts a young woman stepping back from approaching waves. The sculptor’s penchant for realism is on full display with the contrasting matte and highly-polished finishes of the gently lapping waves at the figure’s feet, to the jutting rocks and soft skin. Elegant handling of textures is further exemplified in the draped fringe of the cloth. This monumental and Fine work is illustrated in situ at Bazzanti’s studio circa 1900 among other fashionable works of the period. Notes: Pietro Bazzanti was also known as Pietro Barzanti. There are conflicting dates of Pietro Bazzanti/Barzanti's birth/death year. Some auction houses and art galleries have described 'Pietro Barzanti' as Italian, 1842–1881 and Pietro Bazzanti as Italian, 1825-1895. However, according to Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78, 'Pietro Barzanti' was in fact 'Pietro Bazzanti' one and the same, and it questions his year of his birth/death as "Firenze (?), ?, ?." thus we believe that the Italian, 1825-1895 description is the most plausible. Literature: Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78. Auctions: Another example of this sculpture, probably also Pietro Bazzanti but almost a foot shorter (Height 44¾ in. (113.5 cm), unsigned and without its pedestal, was sold at Christie's New York, 19th Century Furniture, Sculpture, Works of Art and Ceramics Sale...

A very fine museum quality Italian 19th-20th century life-size marble sculpture titled "Searching for Love" by Vito Pardo (Italian, born in Venice in 1872) Depicting a semi-nude life...