Furniture

Italian School, 18th century Pacing Horse Bronze with brown patina, on a rectangular marble base H 8 x L 8,5 x P 3 cm H totale 11 cm

Corbel with an Angel Holding a Shield
Franco-Flemish, Burgundian Netherlands 15th century
Limestone On a modern metal stand H 21 x L 16,5 x P 18,5 cm This finely carved stone corbel,...

Two bases in rare Breccia Africano and Granito Nero Cylinder in Breccia Africano H 12.5 × D 7 cm Cylinder in Granito Nero H 6 × D 9 cm These two cylindrical bases made of rare marb...

Elegant fragment in porfido Serpentino Antico 19,5 x 18 x 12 cm This beautiful fragment can be used as a base made of rare marble, ideal for displaying ancient or modern objects and...

Large Crab-shaped inkwell North of Italy,17th–18th century, bronze H5 xL20x P12 cm This finely cast bronze inkwell takes the form of a crab, showcasing the naturalistic detail and c...

Small reclining lion in finely chased bronze Italy, 15th century Traces of gilding H 4,8 x L 6 x P 2 cm Delicately worked bronze depicting a lion in repose, characteristic of early ...

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 ...

Bronze salamander Italy, 17th century Patinated bronze 4 x 17 x 10 cm This finely cast bronze salamander exemplifies the 17th-century fascination with naturalistic forms and animal ...

Rare and Large Imperial Black Porphyry architectural fragment partially polished, 23,5 x 15 x 12 cm Porfido Nero is a rare Black Variety of Imperial Porphyry from Gebel Dokhan (th...

Circle of Pierpaolo and Jacobello Dalle Masegne (Venice, late 14th century) San Bartolomeo high relief 'en applique' white marble 52 x 30 x 14 cm Provenance : Collection South of...

Renaissance Winged Cherub Relief
Florence, Second Half of the 15th Century
Stone with traces of polychromy Provenance: Important private collection, Northern Italy This exceptional...

Bacchus 
Southern Italy, late 17th century
 Alabaster Sculpture
 H: 20 cm A finely carved 17th-century alabaster sculpture of a naked Bacchus. This Italian alabaster figure depicts ...

Dutch Tobacco Jar Hollande, 19th century H 18 x diameter 12 cm Fine Georgian Dutch Tobacco Jar with beautiful patina.

Dutch Tobacco Jar Netherlands, 19th century 23 x 15 cm Georgian Dutch Tobacco Jar. Made from different woods, this ring turned Jars show a very nice patina.

Flemish school of the 16th century Allegory of Africa
After The Allegories of the Continents by Maerten de Vos (engraving by Adriaen Collaert)
 Oil on copper
 Inscription: "Giulio Ro...

The Martyrdom of Santa Barbara Wool and silk tapestry Bruges, 1530-50 270 x 198 cm Expertise by Professor Guy Delmarcel This Flemish tapestry is a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The medaillon-shaped center stands out against a background of dark blue roses and acanthus leaves. It depicts the martyrdom of Saint Barbara, identified by the tower where she was imprisoned. According to legend, her father, Dioscorus, is about to behead her with a scimitar, while an angel descends from the heavens to strike him with lightning. At the bottom, beneath Saint Barbara, two fantastical creatures. On the left is a griffon depicted with the body of a lion and the head and wings of an eagle. On the right is a creature with the body of a leopard, the head of an elephant adorned in a fancy blue cloak. Both animals face each other standing either side of a green hill top in the middle of the tapestry. The lavish scene of the tapestry is framed by a border which is embellished with foliage, flowers and fantastical elephant heads in blue and white on a red background. The corners and center of the edges display goldsmith-objects. The vibrant brick-red colour and striking bluish-green leaves create a stunning visual impact, showcasing the outstanding state of conservation. Professor Guy Delmarcel connects this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes populated with imaginative creatures. Most feature similar roses and acanthus-leaves as well as other vegetation, with wild animals appearing ready to attack. Two almost identical pieces preserved at the Art Institute of Chicago (Bruges, 336 x 599 cm) and the Rijksmuseum in Amsterdam ("Tournai," 285 x 490 cm) serve as prime examples. The entire surface is filled with greenery, along with birds and fantastic animals. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Other works of this type follow the theme of the "Closed Garden." In the lower register, fantastical creatures occasionally appear, as seen in the exquisite Bruges Tapestry displayed at the Museum of Decorative Arts in Paris, and in the example from the Burrell Collection in Glasgow. The Parisian tapestry from Bruges features a mythical animal in the lower register, dressed in blue fabric, which closely resembles the animal in our tapestry. If Enghien or other centers produced similar pieces, several elements suggest a stronger connection to Bruges for two formal reasons: The overall colour-palette of our tapestry fabric characterized by pronounced brick-red colours and bluish-green leaves, aligns more closely with Bruges than with Tournai or Enghien. The intricate border design with the warm brick-red background, adorned with floral motifs, goldsmith-inspired elements such as incense burners and small bells, can be traced back to Bruges around 1530. This style, often associated with heraldic imagery, underscores the tapestry's connection to the city's rich artistic heritage. A comparable example is the tapestry featuring the Arms of Paolo Giovio, now part of the Prince of Liechtenstein's collection in Vaduz. This piece, set against a brick-red background, depicts arms and armors, cornucopias, boys riding grotesque dolphins, as well as various flowers and leaves. All available literature dates this group of tapestries to the second quarter of the sixteenth century. A key formal element further supports this dating: the executioner, depicted preparing to behead Barbara, wields a Turkish scimitar, a reference to the frequent Ottoman incursions into Central Europe beginning with the 1529 siege of Vienna...

Followers of Jean de la Huerta, Jean de Blany ? Saint Jerome Limestone Burgundy, second half of the15th century 60,5 cm ALR Ref : S00248050 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. The figure of Saint Jerome, a key figure in Christian history renowned for translating the Bible into Latin, is depicted wearing a cardinal’s hat and holding the Vulgate Bible...

Veneto- Saracenic candlestick Engraved bronze 15th century 13 x 8,5 cm This rare candlestick exemplify exquisite craftsmanship, featuring a bell-shaped base with a flared foot adorn...

Veneto- Saracenic candlestick Engraved bronze 15th century 12,5 x 6,2 cm This rare candlestick exemplify exquisite craftsmanship, featuring a bell-shaped base with a flared foot ado...

Large grotesque in the shape of a half-moon On a posterior cement base Limestone France, 17th century 72 x 42 x 51 cm

Egyptian Fragment of a Seated Man Limestone - polychromy Ancient Egypt, 26th Dynasty (664-525 BC) Most likely from the tomb of Montw-m-H3t Provenanc...

Roman Lion's Protome Sandstone Gallo-Roman, 2nd century AD - 3rd century Provenance : Private Collection Prof. Giesen (Konstanz on Bodensee), pré 1945 Most likely from the Chateau a...

Rare Canaanite Anthropoid Coffin Lid Terra Cotta 12th – 10th Century BC Provenance: Public Auction Paris (2022) Private Collection F. Antonovich (Paris – 1980s) Art Loss Register...

Rare Bronzes Depicting two Figures in Turkish Attire Possibly Suleiman the Magnificent at two different ages bronzes, alabaster bases Venice, early 17th century 19,5 x 6 x 5 cm These two rare bronze statuettes represent two figures dressed in elaborate "Turkish" attire. They are mounted on alabaster bases with bronze reliefs—one featuring the winged lion of Venice, and the other possibly symbolizing Turkey with a wolf depiction. One figure wears a grand külah, a spherical turban with a cone top, signifying royal authority, while the other has a wrapped turban, denoting rank and religious identity. Their garments are richly detailed with intricate engravings, suggesting luxurious fabrics of the Ottoman court. The statuettes may represent Suleiman the Magnificent at two different stages of life, as both young and old. The sultan depicted alongside the winged lion corresponds to a description from a Venetian delegate in 1534, when Suleiman was 43. At that time, he had conquered Iraq from the Safavids and achieved a decisive victory over the Papal fleet at the Battle of Preveza. He was described as having large eyes, an aquiline nose, and long red mustaches—traits visible in Cristofano dell'Altissimo’s portrait of Suleiman in the Uffizi Gallery in Florence. Unlike Mehmed II, who commissioned portraits by European artists for diplomatic purposes, Suleiman did not directly order such representations. Instead, his likeness spread through works by artists like Albrecht Dürer, based on sketches made by diplomats. Following his capture of Belgrade in 1521, his victory over Hungary in 1526, and his siege of Vienna...

Circle of Pietro Cavallini (Rome, 1250–1330)
 St. Bartholomew
 Fresco transferred onto canvas Umbria, 14th century
66.5 x 40 cm Provenance: Collection of Raymond Van Marle (The Hagu...

Head of a crowned Virgin Lorraine, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) Private Collection Tuscany, Italy (1980) Ex...

Bolognese School of the 16th Century Mummy of Saint Catherine of Bologna
Oil on Panel 20,5 x 7 x 0,8 cm This rare painting depicts Saint Catherine of Bologna as a mummy, housed in a ...

Double capital with hook decorations
 Grey stone
 France, 13th century
 Reduced—cut in the back in modern times H 22 x L 41 x P 20 cm 'Hook' is the name given today to these ornamen...

Kapati Textile
Byzantine Period; 4th–5th Century C.E.
Materials: Plant and Animal Fibers, Wool 9,5 x 9,5 cm This woolen fabric is woven in the traditional Coptic Kapati style, characteristic of Egypt during the Christian era. The name "Kapati" refers to the Copts of Egypt and describes a weaving technique that does not use embroidery or printing. It is said that Al-Muqawqis, the governor of Egypt, offered the Prophet garments made from Kapati fabric. At the 1900 Exposition Universelle in Paris, the French archaeologist Albert Gayet showcased the results of his excavations from the winter of 1898-1899. Around one hundred Coptic textiles and fragments were displayed at the Palais du Costume. Their aesthetic generated considerable enthusiasm, particularly among artists like Auguste Rodin and Henri Matisse. This led to a "Coptomania," which, among other things, influenced fashion designers. The square fragment features black decoration on a beige background; the two squares at the center are separated by scalloped edges, from which hang various ornaments or geometric motifs. At the center of the fragment is an image of a dancing figure surrounded by geometric decorations. This piece dates back to a time when ancient...

Coptic textile Byzantine Period; 4th–5th Century C.E.
Materials: linen, Wool 23 x 16 cm This fragment features black decorations on a beige background, depicting human figures with...

French topographic embossed map in three dimensions of Ancient Jerusalem 19th century wood and hand-coloured plaster 10,5 x 43 x 58 cm Provenance : Private collection UK Wood and ...

Wool Tapestry from Egypt 
Late Antique Period; 5th–7th Century C.E.
 This band fragment features geometric decorations in red and black. Textiles like this are believed to have been...

Christ
 Umbria, Orvieto?
 Second half of the 15th century
 77 x 16.5 cm

Vittorio Amadio (Italy, 1934) African Masks Acrylic on canvas Signed on the back, 2004 30 x 40 cm Authenticity certificate Vittorio Amadio experiments with non-form as an essenti...

17th century apothecary's ivory mortar Apothecary's ivory mortar 9 Indo-Portuguese 17th century Cites certificate number IT/CE/2023/MI/01108 11 x 9,5 cm

Child Jesus Polychrome and gilded wood Umbria, first half of the 16th century H 40 cm Entirely naked, the Child is standing, leaning on his left leg, his right leg forward; he keep...

Large apothecary's ivory mortar Indo-Portuguese 17th century 16,7 x 10,4 cm Cites certificate number 2022/BE01446/CE

Walnut Table "a lira" - Tuscany, XVII century Table “a lira” Walnut Tuscany, XVIIth century 71 X 90 X 49,5 cm Beautiful patina.

Renaissance relief depicting two female figures dressed in a chiton Italy, probably Rome, 16th century Marble, wooden frame (provenance label on the back) 28 x 20 x 5 cm This beau...

large 17th century turned apothecary's ivory mortar and pestle Germany 17th century Cites certificate number IT/CE/2023/MI/01110 18,6 x 7 cm ; pestl...

Paolo di Giovanni Sogliani (Florence 1455-1522) Processional Cross Florence, around 1515 Enameled, chiseled, engraved, stippled, and gilded copper; wooden core ; Inscription: "OPA...

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...

Rare pair of Gothic Columns - Olivetani Marble Italy, 14th - 15th century Heraldic shields on the capitals of the Order of the Olivetani H 220 et 225 cm x W 25 x D 25 cm H 86 2/3 & 8...

Vintage Coat rack and umbrella stand in leather and steel with integrated light Leather and steel Italy, ’70 172 x 42 x 41 cm The coat rack features 5 hooks and space for storing um...

Walnut and marble table North of Italy, 17th century Wood and black marble H 80,5 x L 114 x P 58 cm This elegant table features a one single solid marble top directly mounted on f...

Marble capital carved with acanthus leaves Southern Italy, Apulia 13th century 28,5 x 53,5 x 12,5 cm This wedge-shape capital decorated with acanthus leaves and roses is character...

Gothic Limestone frieze decorated with curly foliage North of France, 14th-15th century 59,8 x 15,6x 22 cm This French Gothic limestone frieze, adorned with curling foliage, stands ...

Renaissance Marble Relief Emilia Romagna, Faenza ? 1470-80 H 30,2 x L 33 x P 3,5 cm The carved marble relief depicts the Virgin accompanied by a winge...

18th century Grand Tour Cinerarium Limestone, inlaid with Roman marble fragments and fresco's Annotation of finding spot indistinctively written on the fragments ("forum trajan","for...

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

Rare pastiglia marriage chest North of Italy, Liguria or Piemonte First half of 15th century wood, gesso, partly gilded, form molded and painted 67 x 156 x 63 cm Provenance : Pri...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Attributed to Domenico di Paris, also called Domenico del Cavallo ( Monselice, documented in Ferrara between 1442 and 1501) Madonna and The Child Polychromed and gilded Stucco 47,5 ...

Monumental sculpture representing the Venus Pudica (Medici-type) 18th Century Italian (Rome) White marble Based on a model from Antiquity, the Medici Venus, currently in the Uffizi ...

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

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...

Two cylindrical specimens in Breccia Skyros Marble or Settebassi Those two cylindrical specimens are perfect to serve as bookends or to presents works o...