Faience group from Nove di Bassano depicting a female centaur held captive by three men, the ensemble resting on a circular base adorned with bas-relief sculpture. It represents a mythological scene featuring Hylonome, pursued by the Lapiths. This tale, recounted notably by Ovid in his Metamorphoses (Book XII), evokes the unconditional love between the two centaurs Cyllarus and Hylonome. During the Centauromachy, Cyllarus is killed, and Hylonome, unable to live without him, takes her own life. Hylonome is one of the rare female figures belonging to the centaur race in Greek mythology.
Pair of lidded Delft earthenware vases, accompanied by an octagonal-sectioned conical vase. All three pieces are decorated with floral motifs set within scalloped cartouches. The reverse side, meanwhile, features a more understated design consisting of a single flower.
While Delftware designs are traditionally characterized by shades of blue, this set stands out for its use of a purple palette. The lids of the two vases are topped with lion-shaped finials, their heads turned.
Fireplace garniture
This fireplace garniture comprises a pair of vases and a faience jardinière. It is decorated with hand-painted floral motifs and adorned with gilt bronze mounts. The handles are in the shape of dragons and the bases feature figural decoration and a border with geometric motifs. The ensemble rests on feet adorned with Taotie mask heads.
Signed KG.
French faience from the Keller & Guérin manufactory in Lunéville, Napoleon III period.
This carved wooden sculpture in the round depicts a male figure whose nudity is partially concealed by a red drapery tied around his waist. The proportions and treatment of the face are consistent with the stereotypical European representation of the “Moor” during the 17th and 18th centuries.
Although the hypothesis of an interior decorative element seems unlikely, the possibility that this sculpture served as a sign appears more plausible.
Several material elements support this assumption. Firstly, the sculpture displays a highly distinctive patina that would have been difficult to develop if it had been kept indoors. Furthermore, the presence on the reverse of a wrought-iron mounting system secured with substantial rivets suggests that the sculpture required a robust means of attachment capable of withstanding exposure to the elements.
In Germany, certain historic pharmacies known as Mohren-Apotheke still feature this type of sculpture on their façades. Historically, during the Renaissance, this designation was considered highly prestigious and complimentary, as it referred to the medicinal expertise of Moorish populations. The name thus conveyed the idea that the pharmacy imported exotic ingredients and medicinal plants from distant lands, considered essential to the preparation of the most effective remedies.
A highly realistic terracotta dog, enhanced by its polychromy, glass eyes, collar, and natural pose. The particularly refined modelling delicately captures the animal’s volumes and characteristic features.
Charming polychrome glazed terracotta sculpture depicting a dog seated on an elegant blue cushion adorned with a gilt trim. The sculpture displays a remarkable attention to realism, as evidenced by the finely modelled fur and the particularly lifelike expression of the animal. The flowing treatment of the coat lends the composition a natural sense of movement and vitality. The dog wears a delicate yellow collar, emphasizing its domestic character while adding a subtle touch of colour to this decorative piece.
The smiling faces and finely carved hair are rendered with great care and attention to detail. The sculptures are presented on their respective bases.
The work is distinguished by its craftsmanship, notably the use of Panneggio Bagnato, or “wet draping.” This technique, attributed to the great Phidias, consists of sculpting the garment as if it had been soaked in water. Venus’s delicate tunic then becomes a second skin: it flows over the body, embracing every curve and revealing its anatomical form with a sensuality of rare elegance. The garment no longer conceals, but magnifies, creating a play of light and shadow between the prominent folds and the softness of the suggested flesh.
Pair of 17th-century theater drapes in carved polychrome wood, depicting an elegant knotted drape adorned with large golden tassels. The skillful carving of the pleated fabric and the richness of the original polychromy give these pieces a particularly theatrical character. Very beautiful preserved antique patina.
Set of four polychrome woodcut silhouettes representing angels carrying the instruments of the Passion.
Late 18th century
Italy