Null Bronzeplastik 'Venus von Milo', Göttin Aphrodite, Frankreich, 19. Jh.
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Description

Bronzeplastik 'Venus von Milo', Göttin Aphrodite, Frankreich, 19. Jh. Material: Bronze, cast, very finely worked and chiseled, patinated, Height: 42.6 cm Weight: 4.76 kg, Condition: good, Comment: The bronze sculpture is a reduction of the Venus de Milo discovered on the Cycladic island of Milos in 1820 and exhibited in the Louvre in Paris. The original, created at the end of the 2nd century BC, is 2.02 m high and made of marble.

538190

Bronzeplastik 'Venus von Milo', Göttin Aphrodite, Frankreich, 19. Jh. Material: Bronze, cast, very finely worked and chiseled, patinated, Height: 42.6 cm Weight: 4.76 kg, Condition: good, Comment: The bronze sculpture is a reduction of the Venus de Milo discovered on the Cycladic island of Milos in 1820 and exhibited in the Louvre in Paris. The original, created at the end of the 2nd century BC, is 2.02 m high and made of marble.

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Estim. 3 500 - 4 500 EUR

Italian school; mid-17th century. "Venus and Mars". Oil on canvas. Re-coloured. It has repainting and restorations. It presents the reentelado detached in the exterior perimeter. Measurements: 98 x 110 cm. The voluptuousness of the forms of the protagonist, and the sensuality of them indicate that it is the representation of the goddess Venus. Situated in the centre of the composition, she is surrounded by a whole retinue of little lovers who surround her and entertain her. The goddess, who is looking at one of the little lovers holding an arrow, points with her hand towards an area of the composition where part of the body of a male figure can be seen, and in the lower area the glittering glints of a suit of armour can be seen. This feature indicates that the man may be Mars. Although Venus was married to the god Hephaestus, she began a relationship with the god Mars, who had fallen in love when he saw her. Thus beginning a courtship. Every night while Hephaestus worked, the two lovers would meet. This story is told by the aedo Demodocus in Homer's "Odyssey", who recounts that it was the sun god, Helios, who discovered the lovers one night when they lingered too long. The god then alerted Hephaistos, who was enraged and arranged over the bed a subtle invisible metal net, which only he himself could operate, and which had the power to immobilise even the gods. Thus he trapped the lovers on the next occasion, and then called the rest of the gods to witness the adultery, planning to humiliate them. Some commented on Aphrodite's beauty, others that they would have gladly exchanged themselves for Ares, but all mocked them. When the couple was released, Ares fled to his native Thrace and Aphrodite went to Cyprus. Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly baroque, is also typical of 17th-century Italian classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, toned and balanced, centred on basic shades of red, ochre and blue. Also typical of this school of Baroque classicism is the way the scene is composed, with a circular, closed rhythm on one side while opening up to the landscape on the other. However, despite the dominance of the classical, there is a certain influence of naturalism, especially in the lighting. Thus, although the light is natural, it is directed, focusing on the main scene and leaving the rest in semi-darkness, thus differentiating the different planes of space and focusing the viewer's attention on the scene.

Starting price 300 EUR

After BOUGUEREAU (*1825), Venus with flying Cupid, after 1855, Colour lithography After William Adolphe Bouguereau (1825 La Rochelle - 1905 ibid.): "He flies away Venus mit fliegendem Amor, after 1855, Colour lithography Technique: Colour lithography on Paper Stamp: Lugt no.: 5464. Unknown/not identified. Mark: "Wappen darin Figur einen Lorbeerkranz haltend". Date: after 1855 Keywords: Academic Classicism, Nude, Nude depiction, Academy, Cupid, Aphrodite, Wings, Angel, 19th century, Realism, Allegorical, France, Size: Paper: 57,3 cm x 46,3 cm (22,6 x 18,2 in), Depiction: 44,9 cm x 37,0 cm (17,7 x 14,6 in)

Estim. 100 - 200 EUR

Venus und Amor mit Faun — 18/19. Jh. — In felsiger Landschaft die Göttin mit dem schlafenden Amorknaben, von hinten nähert sich ein Faun mit einer Feuerschale, im Hintergrund Flusslandschaft mit Architektur. Aquarell und Gouache/Papier. 24,5 x 18 cm; unter Glas ger.

Estim. 600 - 1 200 EUR

Bacchantengruppe — Meissen, spätes 19. Jh. — Modell von Ernst August Leuteritz. Auf ovalem Felsensockel auf einem Weinfass sitzender Bacchus mit erhobenem Pokal, umgeben von der Göttin Venus mit Weinkrug, dem geflügelten Amor sowie einem kleinen Faun. Porzellan mit farbiger Bemalung. Am Boden unterglasurblaue Schwertermarke mit drei Schleifstrichen, Modellnummer "C 35x / 63, Malerzeichen "40". 34 x 26 x 15 cm. - Restaurierungen, u.a. Bein des Bacchus und Hand der Venus.

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