Large 19th Century Sculpture of Mandolin Player by Valentino Panciera Besarel

Meticulously carved from beechwood, this cherub pair recalls the iconic Renaissance style of the fifteenth and sixteenth centuries. Better recognized by their Italian name, putti—the singular putto refers to the Latin putus, meaning “boy” or “child”—these types of figures often recur in religious artwork as symbols of God...

From the 1700s through the early 1800s, European aristocrats developed a fascination with ancient Egyptian culture and design that culminated in a full Egyptian Revival. Prominent figures such as Marie Antoinette and Napoleon Bonaparte commissioned rooms decorated with Egyptian motifs. This cultural moment reflects a fascination with a sophisticated civilization of great artists and pharaohs. The Regency era possessed very little knowledge of the Great Pyramids or hieroglyphics, a quality that lent Egyptian art interpretation a compelling air of mystique. This English Regency period gilt carving depicts a popular figure of borrowed Egyptian motif: the Sphinx. Recognized among educated circles as a symbol of brilliance in the ancient past, the Sphinx was well-known as a mythological creature who destroys those who failed to answer her riddle. Such a piece as this, excellent in detail and craftsmanship, may have once graced the mantle of a gentleman’s study or been exchanged as a gift between British scholars. The beautiful gold surface has been achieved by an artful combination of gilt and gesso; the art enthusiast will appreciate the intricate texture realized in the carving’s hair and tail as well as the delicate detailing of the saddle. Borrowing from the Egyptians, the Greeks had their own interpretation of the Sphinx. Greek mythology chronicled the Sphinx as being the daughter of Orthous and Chimera or Laius and attributed the riddles, which she proposed, as having been taught to her by the Muses. Crowned with a Grecian diadem and having a refined expression, she evokes an ancient yet reserved intellect. For the modern-day enthusiast of classical Greek art...

The top and bottom of the stained glass shade are embroidered with an anthemion frieze trim. The turned center post terminates with a base having scrolling garlands of foliage onto ...

This extraordinary pair of life-size striated salmon pink marble baby giraffe calves have been hand-carved. Both sculptures were diligently carved from a single slab of marble. The s...

This one-of-a-kind Austrian hiking staff has been handcrafted from solid oak. Oak is a relatively lightweight yet sturdy material, which lends itself perf...

Pair of Late 19th century Louis XIV Style Fauteil Armchairs by the legendary Maison Jansen. Maison Jansen was an interior decoration house located in Paris and is considered the firs...

An exhibition-quality carved figure by Valentino Panciera Besarel Of near life-sized proportions, in carved Italian Walnut, the figure representing a pageboy, his features and flowing hair carved in exquisite detail alongside his romanticised Cinquecento garb consisting of a patterned doublet with chainmail underneath and long puffed sleeves, his carved belt slung around his waist with a65.5 bag and his pointed boots imitating the softly creased leather; his arms outstretched and presenting a large tray with heraldic relief carving. Standing on an octagonal shaped base od bois noirci with inset panels of faux marble. The circular plinth signed by the artist "V. Besarel Venezia." Venetian, circa 1870 Valentino Besarel (1829-1902) Born in Zoldo, near Bellune, home town of the great carver of the Seventeenth Century, Andrea Brustolon he was encouraged by his father to study under Professor Federici , and worked as a carver for a noted architect Guiseppe Segusini. Later, he received private commissions, and in 1861 his trade card listed amongst his clients Edward, Prince of Wales, the British Consul, Layard, and the King of Italy. He exhibited at the 1878 Paris Universelle Exposition, and won a Gold Medal. The churches of Este and Conselve, near Padua possess many groups of saints executed by him. Literature: Benezit, Emmanuel. Benezit Dictionary of Artists. [S.l.]: Grund,France, 1976. Ericani, Giuliana, and Anna Maria Spiazzi. Scultura lignea...

A large and impressive 19th century bronze statue of a Neapolitan dancer, playing a mandolin. Having a wonderful patina and signed; Ernest Carrier de B...

A Splendid Pair of Venetian Figural Torchères Attributed to Valentino Panciera Besarel Of solid carved pine, waxed, blackened and beeswax-polished throughout. Each figure carved wit...

Venetian bronze putti by 19th century artist Valentino Besarel (1829-1902). Putti is standing on a rocky platform turning his head to glance at a bird resting on his hip. The bronze ...

Patinated ceramic, representing two players sitting on a ball on pedestal. Signed "Cheryl Chase" (small accident) Cheryl Chase is a South African artist from Durban. Receptive t...

A fabulous late 19th Century animalier bronze group of two opposing polo players on their eager ponies going for the ball with excellent hand chased surface detail and good colour, raised on a stepped naturalistic base and signed I Bonheur Additional Information Height: 32 cm Width: 67 cm Condition: Excellent Original Condition Circa: 1880 Materials: Bronze About Isidore Bonheur Isidore Bonheur, born in Bordeaux May 15 1827. Isidore was the third child of Christine Dorotheé Sophie Marquis (1797–1833), a musician, and Oscar-Raymond Bonheur (1796–1849) (a landscape and portrait painter and an early adherent of Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men). Isidore was the brother of Auguste Bonheur...