Antique Neoclassical Brass Hanging Lantern, 19th Century For Sale
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Antique Neoclassical Brass Hanging Lantern, 19th Century


This is an elegant antique neoclassical hanging lantern made of solid brass, circa 1890 in date. This sophisticated lantern is of circular shape and features a four light pendant which drops off a scrolled canopy. The frame panels have highly decorative anthemion and double ribbon swag inserts with exquisite acorn finials to the top and bottom of the main frame. There is no mistaking its superb quality and design, which is certain to make it a talking point in your home and stand proud in whichever room you choose to light-up. Provenance: Yester House, Gifford, East Lothian, Scotland, see photo. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 58 x Width 25 x Depth 25 Dimensions in inches: Height 22.8 x Width 9.8 x Depth 9.8 Yester House is an early 18th-century mansion near Gifford in East Lothian, Scotland. It was the home of the Hay family, later Marquesses of Tweeddale, from the 15th century until the late 1960s. Construction of the present house began in 1699, and continued well into the 18th century in a series of building phases. It is now protected as a category A listed building, and the grounds of the house are included in the Inventory of Gardens and Designed Landscapes in Scotland, the national listing of significant gardens Neoclassicism is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of classical antiquity. Neoclassicism was born largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread all over Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century. By the mid 18th century, the movement broadened to incorporate a greater range of Classical influences, including those from Ancient Greece. An early centre of neoclassicism was Italy, especially Naples, whereby the 1730s, court architects such as Luigi Vanvitelli and Ferdinando Fuga were recovering classical, Palladian and Mannierist forms in their Baroque architecture (a similar aeathetic move can be seen in the later works of the Piedmontese court architect Filippo Juvarra in Turin). Following their lead, Giovanni Antonio Medrano began to build the first truly neoclassical structures in Italy in the 1730s. In the same period, Alessandro Pompei introduced neoclassicism to the Venetian Republic, building one of the first lapidariums in Europe in Verona, in the Doric style (1738). During the same period, neoclassical elements were introduced to Tuscany by architect Jean Nicolas Jadot de Ville-Issey, the court architect of Francis Stephen of Lorraine. On Jadot's lead, an original neoclassical style was developed by Gaspare Paoletti, transforming Florence into the most important centre of neoclassicism in the peninsula. In the second half of the century, Neoclassicism flourished also in Turin, Milan (Giuseppe Piermarini) and Trieste (Matteo Pertsch). In the latter two cities, just as in Tuscany, the sober neoclassical style was linked to the reformism of the ruling Habsburg enlightened monarchs. Nevertheless, the Rococo style remained very much popular in Italy until the Napoleonic regimes, which brought a new archaeological classicism, embraced as a political statement by young, progressive, urban Italians with republican leanings. Anthemion design consisting of a number of radiating petals, developed by the ancient Greeks from the Egyptian and Asiatic form known as the honeysuckle or lotus palmette. The anthemion was used widely by the Greeks and Romans to embellish various parts of ancient buildings. The Greeks originally decorated only pottery with the motif, but they soon adapted it to ornament architecture. The single-palmette form appears on acroteria (decorative pedestals), antefixes (roof or cornice elements), and the top of vertical stelae. The continuous pattern of alternating lotus and palmette springing from connecting spirals decorates especially the cyma recta molding of the cornice.  


  • Materials and Techniques
  • Condition
  • Dimensions
    H 22.84 in. x W 9.85 in. x D 9.85 in.H 58 cm x W 25 cm x D 25 cm
  • Seller Location
    London, GB
  • Seller Reference Number
  • Reference Number
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About the Seller

5 / 5
Platinum Seller
1stdibs seller since 2012
Located in London, GB
LAPADA - The Association of Arts & Antiques Dealers
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