Crab-shaped inkwell - North of Italy, 17th–18th century

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 ...

Cerberus Black painted stone Italy, 17th century Measures: 80 x 69 x 36cm (one head missing) Cerberus, cruel monster, fierce and strange, Through his wide threefold throat barks as a dog Over the multitude immers'd beneath. His eyes glare crimson, black his unctuous beard, His belly large, and claw'd the hands, with which He tears the spirits, flays them, and their limbs Piecemeal disparts (Dante, Inferno, Canto VI). Cerberus figure seated, in his role of ferocious guardian of the underworld; he shows a nervous musculature, an adherent skin which reveals the ribs, long and robust limbs; his heads are broad and the eyes set well apart. Painted in black to amplify his menacing look, the infernal guardian is depicted with his famous attributes, writhing his heads, growling and barking furiously. Cerberus, in Greek mythology, was the monstrous watchdog of the underworld – also known as the “hound of Hades” – preventing the dead from leaving, and making sure that those who entered never left. A child of Typhon and Echidna, he was part of a monstrous family, which included Orthus, the Lernaean Hydra, and the Chimaera as well. Only on three occasions Cerberus was tricked by visitors of Hades: Heracles did it with his strength, Orpheus with his music. In "The Inferno", Dante places Cerberus as the guardian of the third circle of Hell. With his three mouths, Dante saw Cerberus as a beast that was synonymous with the sin of Gluttony. Virgil gets past the monster by throwing mud in his three mouths, temporarily choking him. Very rare are the representations of Cerberus in ancient statuary...

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

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 ...

Patinated bronze urn-shaped inkwell rests on three winged-horses evoking movement and action. The body of the inkwell is decorated with faces among garlands and the lid is topped by a seated putti holding fruitVenetian patinated bronze figural inkwell...

Rare Danish blue and white faience ink stand by Johan Ernst Pfau for Store Kongensgade Faience Manufactory, Copenhagen Denmark circa 1740. This inkwell retain with its original ink a...

This superlative, Georgian-period silver inkwell was crafted by 18th century London silversmith James Young. Of exceptional size and quality, this large inkwell is perfectly appointed to draft important correspondence, complete with a sand shaker and compartments for writing utensils. A masterpiece of the restrained Georgian style, the inkwell bears the marital coat-of-arms of the Gresley and Coventry families with the motto “Meliore fyde quam fortuna,” or “With better fidelity than fortune.” Hallmarked London, 1782 11 1/4” wide x 7 1/2” deep x 5 1/2” high The armorial bearings almost certainly commemorate the marriage of Sir Roger Gresley, the 8th Baronet of Drakelowe, and Lady Sophia Coventry, youngest daughter of the 7th Earl of Coventry...

The Pietre Dure panel inset with lapis lazuli, marmo giallo, in a rectangular shape, probably a panel from a cabinet.