Antiquarioroma

11/04/2026

Piquè napoletano

AntiquarioRoma

21/03/2026

HYGIEIA (GODDESS OF HEALTH)

Marble sculpture
Rome, early 19th century (circa 1800–1830)
Circle of Antonio Canova, in the milieu of Pietro Tenerani

Height: 102 cm

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This refined marble sculpture represents Hygieia, the Greek goddess of health, depicted standing in a composed and dignified attitude. The figure embodies a harmonious balance between naturalism and idealization, characteristic of early 19th-century Roman neoclassicism.
Partially draped in a softly flowing classical garment, the figure reveals a delicate anatomical rendering beneath the folds, executed with a measured and elegant restraint. Hygieia leans against a tripod support surmounted by a ritual bowl, around which a sacred serpent coils — a traditional attribute symbolizing regeneration and healing. In her right hand she holds a scroll, while her left hand approaches the bowl in a controlled, almost ritual gesture, creating a subtle and balanced compositional dialogue.
The face is idealized, with serene and regular features, and eyes left uncarved in accordance with the neo-antique aesthetic. The hair is arranged in a restrained classical coiffure, further reinforcing the reference to ancient models.
The marble surface is finely polished, with smooth transitions between flesh and drapery. Details such as the serpent, the sandals, and the structural elements are rendered with precision yet without excessive virtuosity, suggesting the work of a skilled sculptor operating within a major academic workshop rather than a purely decorative production.
The sculpture clearly reflects the influence of Antonio Canova, whose legacy dominated Roman sculpture in the early 19th century. The compositional clarity, the idealized physiognomy, and the refined yet restrained treatment of drapery point toward a sculptor trained within his circle.
In particular, the slightly softened modeling, the gentle treatment of the face, and the subtly uneven refinement between the upper and lower drapery suggest a close relationship with the artistic milieu of Pietro Tenerani, one of Canova’s most important followers and a central figure in Roman neoclassical sculpture.

15/03/2026

IMPORTANT MICROMOSAIC

Roma, prima metà del XIX secolo
Micromosaico in paste vitree su fondo in pietra scura; cornice coeva in legno dorato.
Misure: placca 15 × 11,5 cm; con cornice 20,5 × 18 cm.
Questo raffinato micromosaico romano raffigura due maschere teatrali poggiate su un piano architettonico, ambientate contro un fondo marmoreo reso con straordinaria precisione prospettica. La maschera tragica femminile, dal volto pallido e dallo sguardo dolente, contrasta con quella comica maschile, coronata d’edera — chiaro riferimento a Dioniso, divinità del teatro e del vino.
Il soggetto, derivato da modelli dell’arte romana antica e dai mosaici pompeiani, ebbe grande fortuna nella produzione musiva romana destinata ai viaggiatori del Grand Tour. L’esecuzione, di altissima qualità, impiega tessere vitree minutissime, capaci di restituire le sfumature e il chiaroscuro con sorprendente naturalismo.
La cornice dorata coeva, con profilo a gradoni e mensola superiore decorata da piccoli fiori, completa l’opera e ne sottolinea l’eleganza neoclassica.

18/02/2026

A French Gold, Diamond, and Guilloché Enamel S***f Box

Elegant French 18-karat gold s***f box, crafted in Paris by Louis-François Tronquoy in the mid-19th century. The case, finely chased with scrolling foliate motifs in the Neoclassical taste, is enriched on the lid by an oval deep-blue guilloché enamel medallion centered with a diamond-set monogram surmounted by a ducal coronet. A rich surround of mounted diamonds frames the central medallion, while additional enamel and gem-set appliqués enliven the surface with refined decorative balance. The interior bears the French 18-karat gold mark (Head of Hippocrates, third standard). The gross weight is approximately 143.6 grams. Measurements are approximately 1 inch in height, 3 3/4 inches in width, and 2 1/2 inches in depth. An excellent example of mid-19th century Parisian high goldsmith’s work, combining technical virtuosity, precious materials, and aristocratic taste.

***fbox

12/12/2025

Antiquario_roma

📍 Via F.Paulucci de Calboli, 55 Roma

🏛️ Circondatevi di arte

Tabatière ovale en or 18 carats et émaux avec miniature

France (Paris), vers 1770–1790

Exceptionnelle tabatière ovale en or 18 carats, finement travaillée et richement décorée d’émaux, illustrant le plus haut niveau de l’orfèvrerie parisienne du dernier quart du XVIIIe siècle. Le couvercle est orné en son centre d’une miniature peinte sur ivoire, représentant le portrait de profil d’un gentilhomme coiffé d’une perruque poudrée, vêtu d’un habit sombre et d’un jabot, selon le goût raffiné de la seconde moitié du XVIIIe siècle. La miniature, d’une grande qualité picturale, se distingue par la délicatesse des carnations, la précision du dessin et l’élégance de la composition, attribuable à un miniaturiste de premier plan actif à Paris ou dans la sphère franco-suisse.
L’ensemble de la monture et des surfaces extérieures est richement décoré d’émaux opaques polychromes à motifs floraux et feuillagés, associés à des panneaux d’émail translucide bleu sur fond guilloché, technique d’un très haut degré de sophistication réservée aux objets de luxe destinés à une clientèle aristocratique. L’ornementation est complétée par des bordures perlées en relief, des réserves ovales et des médaillons centraux, exécutés avec une finesse remarquable.
L’intérieur, entièrement en or, porte des poinçons de titre, de contrôle et de maître, parfaitement conformes à la réglementation française du XVIIIe siècle, permettant d’attribuer avec certitude cette tabatière à une production parisienne et de la dater vers 1770–1790.
La tabatière est conservée dans un état exceptionnel, sans restauration, avec des émaux parfaitement intacts, une miniature remarquablement préservée et une structure d’origine complète, y compris la charnière et le fermoir.
Objet de qualité muséale, illustrant de manière exemplaire le luxe et le savoir-faire de l’orfèvrerie française du XVIIIe siècle.

***fbox

07/11/2025

AntiquarioRoma

Oval three-colour gold s***f box, chased and engine-turned

Nicolas Marguerit, Paris, 1783
Three-colour gold (yellow, rose, and green), 9 × 5 × 3 cm, weight 126 g.

French hallmarks for charge, décharge, maker’s mark, date letter and eagle’s head (for subsequent re-entry into the market).
Refined oval s***f box entirely crafted in three-colour gold, finely chased and engine-turned.
At the centre of the lid is a raised medallion depicting a neoclassical garden with a balustrade, a flower vase, and a hot-air balloon in flight — a symbol of the fascination with scientific and technical discoveries during the Age of Enlightenment, inspired by the first ascents of the Montgolfier brothers in 1783.
The base and sides repeat the decoration of floral and geometric motifs, divided into panels with vases and festoons, framed by borders of pearls and laurel leaves.
The alternation of yellow, rose, and green gold produces a refined play of light and depth, expressing the virtuosity of Nicolas Marguerit, one of the most celebrated Parisian goldsmiths of the late eighteenth century.
The French guarantee marks — for charge, discharge, maker’s mark, and the date letter for 1783, together with the eagle’s head (for later re-entry into the market after 1798) — confirm the authenticity and perfect traceability of the piece.
An exceptional example of French neoclassical goldsmith’s art, in which formal elegance harmoniously merges with the rational and innovative spirit of the Enlightenment.

21/10/2025

Antiquario_roma

🏛️ Circondatevi di arte

📍Via F. Paulucci de Calboli, 55 Roma

Paire de vases monumentaux en ivoire et émaux polychromes, Vienne, XIXᵉ siècle

Remarquable paire de vases d’allure monumentale et architecturale, à panse pyramidale sur base carrée, entièrement revêtue de fines plaques d’ivoire ajustées avec soin. Le corps élancé se termine par un col évasé et un couvercle galbé orné d’une statuette féminine en argent émaillé. Les parois sont décorées de montures en argent ciselé et émaillé au feu, riches de volutes, masques, guirlandes et motifs floraux aux tons éclatants de bleu, de vert, de rouge et de turquoise. Au centre de chaque face figurent des personnifications féminines en haut relief, probablement les Saisons ou les Arts. Les figures latérales assises, également en argent émaillé, tiennent des guirlandes et des attributs symboliques, admirablement exécutées et d’une palette d’émaux vibrante. L’ensemble marie avec élégance la douceur mate de l’ivoire et la brillance irisée des émaux, dans un jeu subtil de lumière et de couleur. Par la qualité de son exécution et la richesse de son décor, cette paire se rattache à la production viennoise de la seconde moitié du XIXᵉ siècle, en particulier aux ateliers de Hermann Böhm, Karl Rössler et Mayerhofer & Klinkosch, célèbres pour leur virtuosité technique et leur goût pour les réinterprétations néo-Renaissance et néo-baroques.
La paire est accompagnée d’un certificat CITES, conforme à la réglementation internationale sur la protection des espèces.

21/10/2025

21/10/2025

Pair of monumental ivory and polychrome enamel vases, Vienna, 19th century

An elegant pair of architecturally shaped vases with tapering bodies on square bases, entirely veneered with finely joined ivory panels. The bodies rise to flaring necks and domed lids, each surmounted by a finely modelled female figure in enamelled silver.

The surfaces are richly adorned with chased and enamelled silver mounts, featuring scrolls, masks, garlands and floral motifs in bright shades of blue, green, red and turquoise. Within these elaborate frames appear allegorical female figures in high relief, probably representing the Seasons or the Arts.

Additional seated figures along the sides, also in enamelled silver, hold garlands and symbolic attributes, executed with remarkable technical and chromatic finesse. The composition harmoniously combines the smooth surface of ivory with the iridescent brilliance of the enamels, creating a refined play of light and colour.

By its quality and stylistic language, the pair relates to the Viennese workshops of the late 19th century, notably those of Hermann Böhm, Karl Rössler and Mayerhofer & Klinkosch, renowned for their mastery in merging precious materials within neo-Renaissance and neo-Baroque aesthetics.
The pair is accompanied by a CITES certificate, attesting full compliance with international regulations for the protection of endangered species.

23/09/2025

Un capolavoro di raffinatezza europea ✨
Questa tabacchiera rettangolare in oro inciso a guilloché, arricchita da bordure in oro a tre colori e cornice di perle naturali, custodisce sul coperchio una splendida miniatura a smalto en plein: un paesaggio alpino romanticizzato, con vette innevate, lago solcato da velieri, castello su rupe e figure agresti che animano la scena. I lati e la base sono finemente lavorati con motivi vegetali e floreali cesellati, mentre l’interno rivela un’iscrizione datata 1908.

Attribuita ai maestri ginevrini di Jean-Georges Rémond & Co. (fine XVIII – inizi XIX secolo), la tabacchiera appartiene alla più alta tradizione dell’oreficeria smaltata europea.

Il pezzo è legato a una storia affascinante: nel 1908 fu donato a May Sands, figlia del banchiere newyorkese Benjamin Aymar Sands, in occasione delle nozze con l’Hon. Hugh Melville Howard, figlio del Conte di Wicklow. Simbolo di unione tra la Gilded Age americana e l’aristocrazia europea, questa tabacchiera attraversa l’Atlantico unendo lusso, arte e storia familiare.

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19/09/2025

Micromosaico Beatrice Cenci
PREZZO: 6.000 Euro

Micromosaic depicting Beatrice Cenci, 19th century
Enamel and glass tesserae on black stone ground; original gilt frame
An exquisite Roman micromosaic, of outstanding quality, depicting the famous portrait of Beatrice Cenci (1577–1599), the young Roman noblewoman sentenced to death for parricide and later celebrated as a symbol of innocence and martyrdom in the Romantic imagination.
The sitter is shown in a three-quarter pose, turning back towards the viewer, her face framed by a white turban and drapery. The minutely cut tesserae render with remarkable naturalism the softness of the fabrics and the delicate tones of her complexion. On the reverse, an inscription reads “Beatrice Cenci d’après Raphaël”, although the traditional attribution of the model is to Guido Reni (whose painting is preserved in the Barberini collection, Rome).
The portrait is set within a green faux-malachite border against a glossy black background, a typical feature of micromosaic plaques made for connoisseurs and Grand Tour collectors in the first half of the 19th century.
Its original gilt frame enhances the work’s precious and collectible character.