Antique Satyr

in exquisitely carved satyrs, each figure portrayed with expressive musculature, curling horns, and a

, pleasure, and the fine line between ecstasy and chaos. She is accompanied by a satyr, a half-human, half

descends from the dynasty of satyrs and nymphs, endowed with great wisdom and the gift of divination, he is

. The right candelabra depicts an infant satyr (follower of Dionysus) Condition Report This product is

scene could represent a moment of intimacy between the two, interrupted by a curious satyr, surprised

bearded mask and drawers, the backside with simulated drawers, the sides each centred by a satyr mask.

with ovoid marble body, three supports with satyr masks, on a circular matching marble base with turned

a molded border, above a foliated frieze centered to the front and back by satyrs and musical

ethereal grace and upward movement, while other panels suggest visual echoes of Nymphs and Satyr (1873)—one

mirrored back and base, the sides with bronzes of satyrs and instruments, all standing on short circular

-bronze with removable acanthus leaf tops, the three legs with satyr heads at the top terminating in hoof

. The body of each lamp is decorated with richly chased Ormolu satyr masks linked by fruited garlands

high backs carved and shaped like a figure of satyr and coat of arms. Good conditions. This object is

depicts a playful Putti Child and a young Satyr, masterfully carved in fine white marble, showcasing the

A landscape with nymphs and satyrs revelling by a stream , 1628 Daniël Cletcher, Den Haag 1599

titled as ‘No1 Small Urn’. The urns display twin loped Satyrs mask handles and a decorative foliate

landscape with figures, satyrs, and buildings. Produced in the Metauro area, with a trace of a manganese

stunning composition of acanthus, scrolls and satyr masks, adds to the chandelier’s subtle brilliance

intricate **gilt doré mounts of satyrs, floral scrolls, and acanthus garlands**, each sculpted in high

, satyrs, and, of course, Bacchus. Clodion often exhibited at the Salon during the late 18th century, while

fleur de pecher marble top above matching bronze mounts depicting satyrs carrying a drunken Bacchus

, dionysiac groups of maenads and satyrs would carry grapevine branches and thyrsi, wands wound with grape

encircled with a perlé flanked by two masks of satyrs and ivy garlands on a pedestal encircled with oak

japanned drawers with landscapes, each with foliated escutcheon handles, the cabriole legs with satyr mask

surrounded by griffins and satyrs. Gien mark on the underside. Original metal hanger. Circa 1875-1890

holders in the form of bearded, horned satyr or Pan heads. This exuberant example of Roman ingenuity and

, grapevines, and satyrs. The handles are particularly notable, shaped like entwined vine branches. The

The glass with four satyr or Bacchus masks surrounded by grapes, vines and leafage, the gold cap

two whimsical Satyr faces with fruits and vines in their hair. The front and back of the urn showcases

emblem of intoxication and rustic wisdom. Silenus, often portrayed as an aged satyr with a corpulent

subjects, often populated by fauns, satyrs, and putti, rooted in a reimagined antiquity. Settling in Rome

round, depicting a muscular, bare-chested male torso—possibly a satyr, Silenus, or Dionysian attendant

A circa 1900s Italian Grand Tour side table with satyrs and glass top. Measurements: Diameter

Medici’ collection. Currently housed in the Uffizi, Florence. The bronze figure depicts the Satyr

with a cupid and crown, allegory motifs, griffins and satyrs. Gien mark on the underside with two holes

the mask of a Satyr. The five scrolled arms are spread over two levels and showcase richly chased

centering ribbon-tied blossoming garlands flanked by bearded satyr masks with scrolling horns Beneath a

a gilt ground. The reeded handles are strongly modeled with bearded satyr faces as terminals

Large Bronze Grand Tour Jardiniere Planter by Barbedienne with neoclassical satyr masks and designs

inspired by a Pompeian brazier that was buried in 78 A.D. and excavated later. as three satyrs holding

dolphin mask and rushes, and the other with a satyr decorated with goat mask and grape vines.

Michel Clodion 1738 – 1814), depicting a young satyr and satyress. Mounted on truncated columns of fluted

satyrs and foliage motifs, topped with a handsome brass putto with a garland of roses wrapped around his

the seat for the patinated Bronze satyr as he plays an Ormolu flute. The patinated Bronze body is

and with finely carved satyr masks to all four cabriole legs terminating on hairy lion paw feet. Circa

depicts a Bacchic scene of a maiden dancing with a young satyr. French, Circa 1870.

with bearded satyr heads, both sides of each vase painted with mythological scenes, one side with

: – Mythological figures such as satyrs, sirens, and cherubs – Architectural motifs including volutes, columns, and

baby satyr, and a putto. Bacchus, the god of wine, and his group of youthful revelers appear to be

the fluted plinths, Greek scroll bands, and the twin-handles faced with bacchanalian satyr masks

cover repousse decorated with the same. The cover finished with a satyr form finial. The body mounted

ornamentation, satyr mask mounted, scroll foot tripod base, the reverse affixed with iron plate short leg

doors feature a painted satyr with urns and leafy acanthus scroll-work and flowers. The cabinet further

is flanked by extended Ormolu handles ornamented with a satyr and a foliate berried headdress. At the

of mythological revelry, dancing nudes, satyrs, and pastoral vignettes. These are set against a

. Playful putti dance among scrolling acanthus and vine leaves, while satyrs, fauns, and hybrid beasts

stylized urns. The largest design at left integrates shields, satyr masks, urns, and cherubic figures