Milan - Sculptures

Geometric solid oak wood pattern. The base, in fruit wood, round in shape, painted black (ebonized), above, a sphere built from geometric elements, held together by a black rope. Abo...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

N. 7 plate series Cupole s ‘ Italia N.6 diameter 25 cm.. N 1 diameter 30 cm .

Splendid blue Murano glass hippopotamus

A natural specimen of an iguana skeleton from the Wunderkammer The specimen is twisted into a circle and hung from a string. Italy, circa 1890.

Constantin III is a simple but charming candleholder with a geometric shape with rhombus. The body is in solid Canaletto walnut with natural finishing, emphasizing the wooden veins. The cylinder in natural brass on the top is the place where to put an 18 mm candle. In the same collection 3 different models of candlesticks in wood or in marble. A perfect set for a present. Constantin collection owes its name to its inspirer. It is in fact the modern art of Constantin Brancusi that has guided the designer’s hand to conceive candelabra, bookends, containers and centre pieces...

Embossed and engraved silver plaque La Madonna del lago (The Madonna of the Lake) Probably Milan, post 1824 Brass frame It measures 16.14 in x 13.85 in (41 x 35.2 cm) and it weighs 10.357 pounds (4.698 g): silver 1.31 pounds (598 g) + brass 9.03 pounds (4.100 g) State of conservation: some abrasions on the bottom. The frame is old, but not original. The plaque is made up of a sheet of embossed and engraved silver, and held in a solid brass frame. It depicts the “Madonna del lago” – “Madonna of the Lake” - (the Madonna with Child and San Giovannino) by Marco d'Oggiono (Oggiono, 1474 circa - Milan, 1524 circa), while changing only the background landscape. Almost certainly the subject reproduced in the plaque was taken from a famous engraving by Giuseppe Longhi (Monza, 1766 - Milan, 1831), one of the greatest engravers of his era. The silver is unmarked, probably because originally the Madonna was due to be exposed in a church: sometimes precious metals destined for worship and liturgical use would be exempted from payment and were, therefore, not marked. It is very likely that the plaque was made in Milan because in this city in 1824 the engraving by Giuseppe Longhi was made and printed. In addition, in Milan, the alleged lost painting by Leonardo da Vinci in his Milanese period (1482-1500) would be produced; this is the painting from which Marco d'Oggiono took his version. The painting Marco d?Oggiono was one of Leonardo da Vinci's most brilliant students and collaborators (D. Sedini, Marco d’Oggiono, tradizione e rinnovamento in Lombardia tra Quattrocento e Cinquecento, Roma 1989, pp. 151-153, n. 56; p. 225, n. 124, with previous bibliography). His style reflects in every way that of the Tuscan Maestro, so much so that he was the one who executed some copies of da Vinci's paintings. The execution of the “Madonna del Lago” probably draws inspiration from a lost painting by the Maestro, created while he was living in Milan (1482-1500). There are many similarities with other works by Leonardo such as the “Vergine delle rocce” or the “Vergine con il Bambino e San Giovannino, Sant’Anna e l’Agnello”. The painting, from which the drawing and then the famous engraving were taken, is found today at the M&G Museum of Bob Jones University in Greenville, South Carolina, where it came to rest after the sale of the Harrington Collection in London in 1917. The work appears in the inventories of the collection of Napoleon and Joséphine Bonaparte at the castle of Malmaison, before 1809. The Malmaison building was born and developed in the 17th and 18th centuries. In the 18th century it belonged to Jacques-Jean Le Coulteux du Molay, a wealthy banker. Later, during the Directory, Joséphine Bonaparte de Beauharnais bought it on April 21st, 1799, but settled at the castle definitively only after her husband separated from her in 1809. She remained there until 1814, the year of her death. When Joséphine died, the estate passed to her son Eugène de Beauharnais, who moved to Munich with his whole family in 1815, bringing with him the collection of paintings he inherited from his mother. Eugène died in 1824 and his wife Augusta of Bavaria (von Bayern), unable to keep it, in 1828 sold the Malmaison to the Swedish banker Jonas-Philip Hagerman. It is likely that in this period Augusta also sold part of the paintings inherited from her husband, including the “Madonna del Lago”. This painting then came into the possession of Leicester Stanhope, fifth Earl of Harrington (1784 - 1862) and then was passed down to his descendants. In 1917, at the death of Charles, eighth Earl of Harrington, his brother Dudley inherited the title and properties and he put up a part of his collections for sale. Among these, precisely, the painting by Marco d'Oggiono was to be found. On the occasion of that auction the painting was presented as a work by Cesare da Sesto, by virtue of a handwritten note by the Countess of Harrington on the back of the table. However, already in 1857, the German critic Gustav Waagen had identified Marco d'Oggiono as the author of the painting, then exhibited in the dining room of Harrington House in London (Treasures of Art in Great Britain, in 4 volumes, London, 1854 and 1857). The engraving Giuseppe Longhi was one of the most renowned engravers in Italy between the end of the 18th century and the first quarter of the 19th century. In 1824 Giuseppe Longhi, based on a design by Paolo Caronni, made a famous engraving of the painting of Marco d?Oggiono. The activity of Longhi was then at the peak of his notoriety, enough to earn him very substantial commissions; it is not risky to suppose that some of his successful engravings were also reproduced using other means: in our case in silver. (A. Crespi, a cura di, Giuseppe Longhi 1766–1831 e Raffaello Morghen...

Sculpture depicting a man head, made out of black granite, mounted on a square iron base with a brass support. Russia early 18th century.

The famous Proust in miniaturized ceramic of the "Ceramic Proust Monochrome Collection" designed by Alessandro Mendini e produced by Superego Editions. Yellow color. Limited edition ...

Ronzan “stile” Jaguar ceramic, 1950, Italy.

Column-shaped plinth and rectangular cartouche engraved with the name in Greek of the depicted subject. A plaster cast of the head of Alexander the Great is set on the base. A cast f...

Each crystal is exclusive and unique as it has been entirely hand-worked from a block of crystal. This makes it impossible to create two perfectly identical ones. Three natural blocks of crystal was used to make this set of decorative objects . The crystal have been processed by hand until they obtain a perfectly smooth and luminous surface. The color of the crystal is aquamarine with high transparency. They present a modern furnishing...

Masterfully handcrafted in Italy, Kazimir is not only a perfect divider for a Minimalist or Classic rooms, but also a symbolic bridge, linking design to art, functionality to decorat...

Sculpture of a foot in yellow Siena marble. The sculpture rests on a hinted ground. Replica of a classic type, the construction is excellent, from the proportions to the minimum atte...

Costume cinematografico topolino film Desperaux - emma Watson premiere - costume. Utilizzato per la premiere del film di emma Watson.

This piece is one of the few that could be attributed to MARIO CACCIAPUOTI , in his brief stint with the MARIO CACCIAPUOTI AND C, In Milan. It is made of stoneware and plated with s...

A souvenir of the Grand Tour, Rome stage. Trajan's column. The famous monument is representative of Rome, Caput Mundi, and the greatest empire of its time in its maximum splendor. He...

Walking stick: silver handle, depicting the head of a horse. Ebony wood shaft. Metal ferrule. Germany 1900 ca.

Taxidermy marine natural Wunderkammer specimen, embalmed Stingray (Raja Clavata). The Specimen is stuffed and mounted over a base that rotates 360 degrees on its own axis and tilts a...

Beautiful bronze sculpture made by Anatole J. Guillot, French sculptor of the second half of the 19th century. The brightness of the bronze enhances the sinuosity of the forms giving a beautiful light-shadow effect traceable especially among the small carvings...

Beautiful vintage crucifix of fine Italian manufacture from the 1950s. The vintage crucifix was made with nickel plated iron and gilded bronze. The v...

Marcello Morandini optical sculpture / multiple, Italy, 2005.

Artistic atelier sculpture depicting a foot. Made of fruit wood, the sculpture has a smooth base with an irregular geometric edge, on which is the artist's proof of refined workmansh...

Silver metal model hand 5 fingers designed by Gio Ponti for Sabattini in 1978. Signed. Biography Architect, designer and artist, Gio Ponti (Milan 1891-1979) graduated in Milan in 19...

Made in Italy, 1970s. These centerpieces / sculpture is made in solid transparent sommerso Murano glass molded by hand and they are by Livio Seguso. They are vintage, therefore it ...

Antique figurative pocket knife, chiseled and guilloché, representing a rabbit lying down with its ears down. Brass handle plates with three rivets, spring and steel blade. Signed Th...

Bronze sculpture depicting faun with cymbals on red marble base.

Murano glass sculpture produced by Seguso Vetri D'arte. Signed at the base. About Seguso Seguso is among the oldest glass-making dynasties on the island of Murano, whose family trad...

Papier-mâché horse covered in leather with metal elements.

Natural specimen from Wunderkammer Stuffed bird (Erithacus rubecula) Robin on a wooden base with cartouche Specimen for laboratory and Natural history cabinet. S. Brogi Naturalista. ...

Mul Vase by Ayse Zelal Tugrul One of a Kind Dimensions: D 18 x H 30 cm. Materials: Copper. Vase “Mul” takes its name from the Sumerian word “star”, it represents the connection betw...

Lenci, ceramic 1931, San Sebastiano, autorizzato Giovanni Grande.

German art decò polychrome porcelain eagle by Fritz Heidenreich for Rosenthal in the Selb department in 1930. Eagle sculpture in polychrome porcelain, resting on a rock also in porce...

A sphere of Aragonite stone, resting on a base, made of silver which has a cup-shaped stand with a wavy profile that opens upwards with a concave surface. Italy circa 1870.

Horse, one of nine sculptures depicting animals of different species, entirely covered in fur; each animal rests on a wooden base, three of which have a label underneath which indica...

Seguso Seashell Murano glass gold leaf inclusions, 1950, Italy.

Natural specimen from Wunderkammer Stuffed bird Great Spotted Red woodpecker (Dendrocopos major) mounted on a wooden base with cartouche Specimen for labo...

Parrot-shaped sculpture Psitaccus Dino Martens (1894 - 1970) Vetreria Artistica Rag. Aureliano Toso, 1953-1956 It measures 9.055 inches in height x 4.13 in x 5.90 in (23 cm, 10.5 cm x 15 cm) It weighs 1.997 lb (906 g) State of conservation: intact. The small glass sculpture...

A specimen from Wunderkammer: the tail of a barracuda fish (sphyraena barracuda). An example of a natural specimen intended to be suspended, consists of the tail of a barracuda (sphy...

Natural specimen from Wunderkammer Stuffed bird (Streptopelia turtur) Dove on a wooden base with cartouche Specimen for laboratory and Natural history cab...

Container structure in linden wood with two doors made of windowed elements gradually reducing in size. The surfaces of each individual element are finished by carving with a hand plane...

Natural specimen from Wunderkammer Stuffed bird (Melopsittacus undulatus) Corrugated parakeet mounted on a wooden base with cartouche Specimen for laboratory and Natural history cabi...

Vetrerie Toso, Italy, circa 1930s. It is made in blown glass and polychrome paste. A clear sign of the authenticity of the piece, its age and its creation is the presence of ash particles in the glass. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in excellent original condition and ready to become a piece in a home. Literature: Giordana Naccari, Cristina Beltrami, ed. Skira, "L' Arca di Vetro. La Collezione di animali di Pierre Rosenberg...

A sphere of red jasper resting on a base, made of brass that has a vase-shaped support with a wavy profile that opens upwards with a concave top. Italy end of 19th century.

A splendid 1980s sculpture designed and produced by the great painter Meloniski from Villacidro. The painter Meloniski was born in Villacidro in 1943. Completely self-taught, the Sar...

Incredibly stunning large Art Deco woman figure signed by Cia Manna, Torino, Italy, 1950s. Semi nude form of a young woman. It is made in painted and glazed ...

Ceramic sculpture depicting on owl created by Franco Bratta in 2006, Albisola. Signed.

1990s modern sculpture, realized with different metals such as iron copper and brass.

Crucifix on Calvary, called 'Pestis Christi' or Crucifiix Pestis 'Plague of Christ' or Plague Crucifix). The sculpture is composite, made with heterogeneous materials: wax, wood, papier-mâché. The octagonal base is slightly raised and supports the calvary, symbolized by rocks, from which the crucifix rises, made with intentionally unfinished boards and with marked veins. The depicted Christ is peculiar: he shows scarified skin all over his body. Masterfully crafted in wax. They are the plagues of the plague that Christ, 'Agnus Dei' takes charge of with salvific value, for the salvation of the world. At his feet the ordeal full of symbols: evil (snake) with the apple, the 'Memento mori' of human bones...

An Art Nouveau seal made of carved Boxwood, depicting a veiled woman's face, wrapped in intertwined racemes. Oval-shaped bronze matrix with engraved noble coat of arms, a nine-pointe...

Rare and unusual Vanitas in carved and engraved boxwood, in the shape of a skull. The skull had the function of collecting alms coins, it has a slit a cut at the top to place the alm...

A rare Brendel botanical model of Taxus N.40 (Coniferae), Yew. The round base in ebonized wood holds two models: an example of a male Sporofil...

Exceptional and very rare ceramic “Lenci” “the Two Sisters" 1929 Italia.

Bronze sculpture depicting a pair of fawns on a black marble base. Author's signature engraved on the side of the base.

Enrico Mazzolani ceramic female figure, Italy, 1930s.

Music historian, art critic and collector, and one of the most eminent men of culture in his days: Luigi Magnani Rocca has been a key feature in Italian modern history, and amassed a...

Made in Italy, 1980s. This is a high-quality handmade Sommerso glass decorative item. It might show slight traces of use since it's vintage, but it can be considered as in excellent ...

A specimen of Naturalia an ostrich egg (Struthio camelus) mounted on an ebonized wooden base. The upper part, mounted on the summit, in the shape of a pinnacle, always of the same w...

Made in Italy by Giovanni Bertoncello for Schiavon, 1970s. It is made in brown glazed ceramic. It is a vintage piece, therefore it might show slight traces of use, but it can be cons...

Bronze sculpture of pair of Nereids with green marble sphere made in the 19th century Ø cm 16 Ø cm 13 h cm 26