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Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century
Open a larger version of the following image in a popup: Spanish (?), WINGED PUTTO HEAD, 18th Century

Spanish (?)

WINGED PUTTO HEAD, 18th Century
Alabaster
H 27,5 x W 17 x D 12 cm
H 10 4/5 x W 6 2/3 x D 41 inch
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The head of a winged putto emerges from an elaborate arrangement of foliated ornament. The composition is vertically conceived and carved in high relief against a flat backing, indicating that...
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The head of a winged putto emerges from an elaborate arrangement of foliated ornament. The composition is vertically conceived and carved in high relief against a flat backing, indicating that the object originally functioned as an appliqué element attached to a larger architectural or liturgical structure.


The putto’s head is turned slightly to its right, creating a gentle assymetrical movement within the composition. The face is full and rounded, with pronounced, softly modelled cheeks and a small, slightly upturned nose. The lips are parted, revealing a subtle separation between upper and lower lip that imparts a sense of animation. The eyes are half-closed, their upper lids delicately defined, contributing to a contemplative or inward expression. The modelling of the flesh is smooth and continuous, with transitions subtly handled rather than sharply delineated.

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Desmet Fine Art

RUE DE LA RÉGENCE 17
LE SABLON
1000 BRUSSELS
BELGIUM
INFO@GALLERYDESMET.COM
TOM DESMET  +32 475 37 60 50
TOBIAS DESMET +32 486 02 16 09
TEL & FAX +32 2 514 98 88
 
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