18th Century, Pair of Italian Neoclassical Giltwood Sculpture

18th century, pair of Italian neoclassical carved giltwood stools The fine pair of neoclassical stools, made in Sicily (Italy) in the second half of the 18th century, consists of ...

18th century, pair of Italian neoclassical lacquered and giltwood gueridon Measurements: height 126 x max diameter 44 cm; diameter at the top 33 cm This fine pair of guéridon wa...

18th century, pair of Italian neoclassical lacquered and giltwood consoles This pair of consoles was made in the second half of the 18th century in the neoclassical era, in Naples (Italy) The carved and lacquered wooden consoles are composed of two half-moon tops lacquered with fake jasper. The band below the floor is sculpted in the ways of Classic grooved friezes, lacquered with light color and gold. The four legs are also grooved lacquered and golden and end in quadrangular feet. These consoles are very elegant and refined for the simplicity of their line and color. Consoles with two shelves are also quite rare. These allow greater flexibility in their use: in fact, in the lower shelf it is possible to expose, for example, vases with flowers, porcelain, books or other decorative objects in addition to what is placed above or offend the ability to lighten the top floor from too many objects. For their small size and especially for the particular depth of the floors, very narrow, and for the distinctly decorative character, these consoles are easily inserted in any environment. They are in fact perfect in the entrances or in the corridors, in a living room or a study, exposed in pairs or individually. The light color also makes them pleasant next to antique and modern furniture.

18th century, pair of Italian neoclassical carved and giltwood mirrors Size H 70 x W maximum 50 x W 43.5 frame x D 3. The pair of delightful mirrors was made in south of Italy (S...

18th century, pair of Italian half-moon lacquered giltwood neoclassical consoles These elegant wooden consoles finely carved, lacquered and golden, fully represent the taste that ...

18th Century, Italian Bronze Sculpture with Venus Removing Her Sandal This bronze sculpture represents Venus as she takes off her sandal. Made in the neoclassical era in Italy, it consists of the bronze sculpture of the Greek goddess Aphrodite, Venus for the Romans. The naked goddess, getting ready for the bath, makes the very human gesture of loosing a sandal. The left arm is raised, as if to compensate the position while maintaining the balance. Next to her, wrapped around a rocky spur, is a dolphin, an animal iconographically linked to the goddess because of his birth from the foam of the sea. The figure rests on a cylindrical and concave bronze base, with finely chiselled reserves. The bronze element is in turn resting on a africano marble cylinder with black of Belgium marble base. Venus is one of the major Roman goddesses primarily associated with eros and beauty. It is traditionally understood as the equivalent of the Greek goddess Aphrodite, goddess of beauty, physical and passionate love, among the major deities of Olympus. His birth is due to a dramatic event: Uranus, Heaven, is mutilated by his son Cronus, who punishes him for the wrongs inflicted on his mother. The torn limbs of Uranus fall into the sea and fertilize the foam of the waves of the island of Cyprus. From the waves emerges in all its splendor Aphrodite. Since the 4th century, Aphrodite begins to be represented with characters more human and less heroic. Praxiteles with the 'Aphrodite Cnidia,' for the first time in the history of sculpture, depicts her naked, as she prepares to take a ritual bath. From the Pressitele’s model descend the Capitoline Venus (Capitoline Museums of Rome) and the Venus de’ Medici (Uffizi Museum of Florence) accompanied by Eros on the back of a dolphin. This vein also includes a subject frequently attested in the Hellenistic and then Roman Ages, with examples in bronze, marble and terracotta: the Aphrodite who fastens the sandal. The luck that this type of representation had in the following centuries is demonstrated by the vast number of sculptures that represent it. In this bronze work the goddess resumes the position of Oplontis’s Naked Venus: here Venus holds an apple in her left hand, a reminder of her victory in the beauty contest in which she prevailed over Minerva and Juno by judgment of Paris. In our bronze instead, the hand seems to want to shake the apple, which however has not been molded. Perhaps the bronze is inspired by another work, such as the bronzes kept in the archaeological museum of Padua. Another example is the famous 'Venus in bikini" found in Pompeii, so-called because it depicts the goddess in the same pose, but with the breasts and hips covered by bands painted in gold. The dolphin depicted next to it could be inspired instead to the Medici Venus...

This pair of Italian giltwood ornaments are fragments from an original late 1700s Neoclassical architectural. They have been mounted more recently on painted black stands with metal ...

These charming antique putti carvings were crafted in Italy, circa 1780. The hand carved figures depict two chubby cupids resting on a knee and holding a arm up; each sculpture featu...

Ostrich egg is 5.5" w. No cracks or repairs.

This giltwood sculpture was carved in the round, probably in southern France or northern Italy in the 1760s. Her pronounced musculature speaks to the ongoing influence of Michelange...

Very nice handcarved giltwood neoclassical angel, Italy, circa 1780-1820. Weathered, small losses Measurements include the wooden base.

18th c. Pair of finely carved Italian Giltwood Fragments