Antique Sculpture Child and Turtle Bronze XIX-XX Century - Italy, XIX-XX Century

Italy, Early XX Century

Carved and lacquered wooden sculpture depicting the education of the Virgin, Saint Anne with the Child Mary. The Saint's robe has much of its gilding worn away.

Venice, Early XIX Century

Pair of candle holders resting on bases, Venice first half of the 19th century. Carved and lacquered Moors, dressed in mecca-gilded and multi-coloured robes and shoes; with their raised arm they hold a candle base, while in the other they hold a small plate. The two moors rest on the same number of lacquered octagonal bases, decorated with marbled elements and a pair of carved and gilded lion protomes. Dishes that are not contemporary.

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

Italy, Half XIX Century

Female statue in white statuary marble, allegorical personification of autumn, Italy mid-19th century. Whole figure dressed in the old fashioned way with gown, headdress of vine leaves and bunches of grapes, the latter also placed along the left side; with his right arm he holds autumn fruits. Resting on a circular base. Small breaks.

Italy, Mid XX Century

Bust of a Roman emperor in white marble and alabaster, Italy, mid-20th century. Alabaster gown. Base in black marble.

Portrait of a young girl in marble placed on a grey marble column, depicting a young girl cloaked in the winter cold. The different processes used give variety in the rendition of the marble. On the back of the bust, “F. Andreini Florence 1894" is engraved.

Oil on canvas. Signed lower right "J. Dupont da Velzquez". This is a copy of Diego Velazquez's famous masterpiece, painted around 1657 and housed at the Prado Museum. Until the mid-20th century, the painting was titled "The Tapestry Factory of Santa Isabel in Madrid": only in 1948 did studies by art historian and critic Diego Angulo Íñiguez identify a connection between the painting and the ancient Greek myth of Arachne. In the foreground, several spinners work in a bare, dimly lit room, with a soft light reflected from the background. Five women are depicted: on the left, in the dim light, the eldest spinner operates the reel; in front of her, on the right, in full light, a young girl is collecting thread on the reel; They are respectively the representations of Athena, still hidden under false guise, and the human Arachne, during their contest. The other three women are merely surrounding elements; the central one is merely a static silhouette. In the background, central and illuminated by a powerful beam of light emerging from the left, and enlivened by the bright colors of the tapestry and the robes, is the scene of the goddess's revelation to the woman. Compared to the original, this copy, while faithful in the figures and details depicted, is painted with more nuanced brushstrokes and less defined outlines, as well as less vibrant colors. The work is presented in a frame.