Renaissance Sculptures

Finely carved mythological subject in limestone with Cornucopia associated with the harvest, prosperity, or spiritual abundance. Excellent condition. Measurements: Statue cm 160, ba...

Attr. Bertel Thorvalsden (1770-1844) WINGED CUPID, Italy, 19th Century Provenance: Private Collection, Vienna

Antique bronze sculpture of male nude reading a letter or proclamation. Marble base, 19th century. Unsigned.

Signed and dated: ‘F. Harwood Fecit 1764’ Collections: Probably commissioned by Alexander Gordon, 4th Duke of Gordon (1743-1827); Probably by descent at Gordon Castle, Banffshire to c.1948; Possibly acquired by Bert Crowther of Syon Lodge, Middlesex; Jacques Hollander (1940-2004); Christie’s, 5 December 2013, lot 101; Private collection; Sotheby’s, 2 July 2019, lot 106 Literature: John Preston Neale, Views of the seats of noblemen and gentlemen, in England, Wales and Scotland, London, 1822, vol.I, unpaginated. This marble copy of an ancient bust in the Musei Capitolini usually identified as Faustina the Younger, the daughter of Antoninus Pius and future wife of Marcus Aurelius, was made in Florence by Francis Harwood in 1764. Harwood was one of the most prolific suppliers of decorative marbles for the Grand Tour market and this finely worked example demonstrates the quality of luxury goods available to travellers to Italy. So often anonymous, this unusually signed and dated example, raises questions about the status of marble copies in the period and of sculptors such as Harwood who are known principally for ornamental work. Harwood’s origins remain obscure. He is documented living in Palazzo Zuccari with Joshua Reynolds and the Irish sculptor Simon Vierpyl at Easter 1752, he had certainly settled permanently in Florence by the following year, when he is recorded working with Joseph Wilton. He was admitted to the Florentine Academy on 12 January 1755 (as pittore Inglese, although he was described as scultore in the matriculation account). After Wilson returned to England in 1755 Harwood appears to have worked in a studio near SS. Annunziata with Giovanni Battista Piamontini who had made life-size copies of The Wrestlers and The Listening Slave for Joseph Leeson in 1754. In 1758 both sculptors were contracted to make a statue and a trophy to complete the decoration of the Porta San Gallo, Harwood completing a statue of Equality, installed the following year. By 1760 Harwood was on the brink of his most productive period as a sculptor, producing copies of celebrated antiquities for the ever-increasing audience of Grand Tour travellers and for the domestic market in London. In 1761 Harwood met the young architect James Adam who was in Italy specifically to make contact with suppliers for Robert Adam’s burgeoning practice back in Britain. The Adams offered a remarkably cohesive design package to their clients, encompassing not just architecture, but fixtures, fittings and furniture as well. Harwood was able to supply the brothers with marbles for their new interiors. At Syon, for example, Harwood produced a full-size copy of Michelangelo’s Bacchus for the new dining room the Adams had designed for Hugh Smythson, 1st Duke of Northumberland. Harwood seems to have also specialised in producing sets of library busts. In 1758 Charles Compton, 7th Earl of Northampton, a distinguished traveller commissioned a set of busts which remain in situ at Castle Ashby in Northamptonshire. It is perhaps no coincidence that the Adam brothers were producing designs for new interiors at Castle Ashby at this date. The set included representations of: Cicero, Julius Caesar, Marcus Aurelius, Faustina the Younger, Sappho, Seneca and Homer. Each of these busts Harwood seems to have replicated for multiple patrons, another Adam patron, Thomas Dundas...

These 19th Century hand-carved hall chairs from Mexico are reminiscent of a Renaissance style in the design of the faces of the angels and ornamentation. This native wood is walnut colored with a stain that gives the chairs a caramel glow. The cushions are upholstered in a, light yellow silk brocade fabric. There are pin-sized holes from an earlier exposure to termites, a desirable element in antique Mexican furniture...

Piccola terracotta a soggetto mitologico firmata sul retro sulla base "Zambini", che per la grafia (in particolare la Z che ricorda una F) permette di identificare l'artista con Ferr...

This artwork is described beautifully by Art critic and curator Salvatore Russo at an exhibition in Uffizi Gallery, Florence 2016 - "Barry Davies, a sculptor able to state the streng...

Early 20th C Italian Art Nouveau Alabaster Sculpture of a young female bather. Bather is seated on a stone with arms crossed in a mode...

D. BRUCCIANI & CO (19th Century) St Cecilia Polychrome painted plaster bust with mould lines visible (probably later painting) 47 cm., 18 ½ in. high Dom...

Porcelain on granite Deniz Pireci's works; He tries to rediscover all the meanings contained in ceramics as a tool, to emphasize them even more, and sometimes simply to reveal them. As a tool, it is obvious that porcelain refers to fragility, craft, handcraft as well as mystery and the invisible. The use of porcelain in the field of contemporary art necessarily encompasses all these concepts, which it evokes as a material, within its scope. Pireci produces works that are included in many different trends with its approach to materials and art. At the same time, it not only questions our sovereignty over images, it creates an opportunity for us to lose it for a while. (Aysegul Sonmez) Deniz Pireci, who deals with issues such as migration, locality, identity, cultural difference and gender from different perspectives in her art practice, was born in Istanbul. She graduated, Ceramic Department of Marmara University Fine Arts Faculty. She completed her Master's Degree in Marmara University Fine Arts Institute Ceramic-Glass Main Art Branch in 2006 and still continues her work in her studio in Istanbul. Some of the artists works are on display at; Eczacibasi - VitrA Ceramic Art Studio, Korea Museum of KOCEF, Turkish...

In Greek mythology Perseus was the son of Zeus and Danae also founder of ,Mycenae. Davies' respect for classical sculpture is evident in this depiction of Perseus' foot and highly de...

Bather by Etienne Hachenburger (19th-20th C.) Sculpture in white Carrara marble Signed on the side of the base "E. Hachenburger" A simiilar model was exhibited at the Paris Salon oh...