Ars Antiqua Sculptures

German ceroplast from the 17th century Bust of a gentlewoman Wax, 36x32.5 cm The use of making wax figures was very common, since ancient times, among the Greeks and Romans, and, ...

15th century, Florence Madonna and Child Painted stucco, 29 x 14 cm This stucco Madonna of the 15th-century Florentine school exudes a gentleness and sacredness that is entirely c...

French school, early sec. XX Greyhounds Bronze, 14 x 19 x 11 cm

XVII Century Adoration of the Magi Polychrome terracotta, 24 x 18 cm The present relief, made of terracotta that retains the original polychromy, depicts the famous episode in the...

XVII secolo Quattro fregi con teste di putto e stemmi (4) Legno scolpito, alt. cm 32 L'oggetto è in buono stato di conservazione

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...

18th 18th Century Pair of candle-bearing angels Carved and gilded wood, 28 x 71 cm The item is in good condition

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...

Rome, 17th century Pair of angels Gilded wood, cm h 92 - Base, cm 25 x 40 The pair of putti examined is a masterpiece of the Roman Baroque period, a period of pomp and opulence w...

Adolfo Laurenti (Monte Porzio Catone, April 23, 1858 - Rome, 1944) Bust of togatus Terracotta, 21 x 18 x 12 cm Adolfo Laurenti was born on April 23, 1858, in Monte Porzio (since 1...

First half of the 19th century Madonna and Child with souls in Purgatory Lacquered and gilded papier-mache with polychrome wooden base cm 96.5 x 37.5 x 28 "At that time I asked the Lord Jesus: 'For whom do I still have to pray?'. Jesus answered me that the following night he would make me known for whom I had to pray. I saw the Custodian Angel, who ordered me to follow him. At a moment I found myself in a foggy place, invaded by fire and, in it, a huge crowd of suffering souls. These souls pray with great fervour, but without effectiveness for themselves: only we can help them. The flames that burned them, they did not touch me. My Guardian Angel did not abandon me for a moment. And I asked those souls what their greatest torment was. And they unanimously answered me that their greatest torment is the ardent desire of God. I read the Madonna who visited the souls of Purgatory. The souls call Mary 'Star of the Sea'. She brings them refreshment ". (Diary of Sister Faustina Kowalska p. 11) A Polish religious, Saint Faustina Kowalska (1905-1938) reinterpreted in the pages of her testimony the ancient role of the Virgin as savior and supporter of the souls of Purgatory. The Second Vatican Ecumenical Council established that, assumed into Heaven, the Mother of God should operate a continuous intercession in favor of those children waiting for Paradise who were in the place, quoted for the first time by Pope Gregory the Great...

Early 20th century Gallant scene with citadel White marble and green marble from the Alps, cm 59 x 48 x 29 Signed on the back "G. Abell" The refined marble group describes the...

18th century Personification of the Day Alabaster, cm 11.5 x 17.5 x 5 With base cm 14.5 x 20,8 x 11.7 Il Giorno is a marble sculpture (160x150 cm) that Michelangelo mad...

First half of the 18th century, Lombardy Putti (2) gilded wood, H 88 cm The work is distinguished by the high artistic quality and the remarkable executive care, as eviden...

18th century Immaculate Madonna Terracotta, 53 x 22 x 20 cm The work examined depicts the Virgin Mary treated according to the iconography of the Immaculate Virgin 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...

19th century Pair of desks with portraits of Petrarch and Leonardo (2) Alabaster, 34 and 35 cm diam The pair of alabaster discs features a central cameo with the effigy of Petrarch and Leonardo, probably part of a larger series that featured illustrious characters from Italian history. On the openwork frame of Petrarch there are portraits of some characters who face each other, combined for centuries, as can be seen from the shapes of the garments that span several centuries: from the thirteenth century, in which men wear long-tipped bonnets, to the fifteenth century and Sixteenth century, the two characters at the top, in the seventeenth century, with wide collars, up to the eighteenth century. Francesco Petrarca (1304-1374) embodies the figure of the humanist intellectual par excellence, entirely dedicated to the study of Latin conceived as the only form of expression worthy of a man of letters, so as to serve any form of written communication, including letters and the reflection on himself witnessed in the Secretum. A personality made more complex by obsessive perfectionism, which led him to a continuous and infinite editing of the work which he also flaunted to consider as minor and which instead ensured him an undying fame among posterity, the Canzoniere. But the only aspect fixed in the collective imagination is that of the lover who idolizes the places where his ideal love blossomed...

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...

18th Century Sant’Antonio Abate Wood, cm alt. 61 Base 25 x 17.5 cm This wooden sculpture depicts Sant’Antoni Abate. Antonio was born in Come i...

Nineteenth century Young woman portrait Measures: Plaster, 50 x 40 x H 40 cm Dated 10 - 1 - MCMI The emergence of a "disheveled manner" in sculpture is affirmed since the 1880s with Giuseppe Grandi, author of the Monument to the Five Days of Milan, Ernesto Bazzaro, Paolo Troubetzkoy...

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.

19th Century. Cesare Beccaria Bronze, 49 x 13 x 15 cm The bronze statue examined faithfully reproduces the famous Milanese monument by Giuseppe Grandi (1843-1894) dedicated to Cesare Beccaria. The work, from the top of a high base in white Montorfano granite, dominates the homonymous Milanese square, a sad stage for executions at the time of Austrian rule, in a bronze copy of 1914 to replace the original stone statue which already at the beginning of the new century showed serious signs of deterioration. The marble became part of the collections of the Gallery of Modern Art and is now located inside the Palazzo di Giustizia in Milan. The initiative regarding the erection of a monument dedicated to Cesare Beccaria originates in 1865, in support of the proposed abolition of the death penalty...

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...

Tuscan school, 17th century Madonna with Child - from the Impruneta Tondo Measures: Polychrome terracotta, 65 x 46 x 10 cm This polychrome terracotta relief, gently jutting...

17th century Crucifix Measures: Boxwood, 42 cm high x 8 x 14 The sculpture depicting the crucified Christ examined here represents a refined example of seventeenth-century cabinetry in boxwood. The figure of Christ, now dead on the cross, is part of a precious artistic choreography with the structure of the cross and its pedestal, both decorated with tortoiseshell mirrors, ivory threads to emphasize the structure of the cross and elements in ebonized and carved wood to highlight the architectural structure of the pedestal. The departure of Christ is evident from the lowered head, from the open hands...

18th Century. Peace depicting the Crucifixion Dark patina bronze, 21 x 14.5 cm The bronze examined is an ancient peace (in Latin osculum pacis or table pacis), the object of th...